The Classical Era 1750-1800

Neoclassicism in Art Imitation of Greco-Roman art Clarity and simplicity Symmetry and balance Objectivity (intellectual rather than emotional)

The Enlightenment Reason over tradition or custom Social reform- rise of middle class Encyclopedic frame of mind Age of revolution – government should arise from the will of the people rather than be imposed by a ruling class American Revolution French Revolution

David, Oath of the Horatii, 1785 David, Oath of the Horatii, 1785 Oath of the Horatii (1785)-- In the 7th century B.C.E. the kingdoms of Rome and Alba were entering into a state of war because of a series of cattle raids along the border. Rather than mobilizing armed forces, however, it was decided that the opposing states would each chose three heroes to do their fighting. The Horatii brothers were chosen to represent Rome, and the Curiatii brothers were chosen to represent Alba. On his canvas David imagines that the Horatii brothers swore an oath with their father before the battle.

David, Death of Socrates, 1787 David's The Death of Socrates (1787) pays homage to the Athenian philosopher who in 399 B.C.E. was placed on trial for corrupting the youth and religious impiety. These were trumped up charges, and it is likely that Socrates' enemies simply wanted him to leave Athens. But, insisting that he had done nothing wrong, Socrates bypassed the sentence of exile and, consequently, was sentenced to death instead. Though given ample opportunity to escape, out of respect for government and for Athens, Socrates refused. He argued that if he were to escape, then he would be truly guilty of the crimes with which he was charged.

Jean Honoré Fragonard, The Swing (1766) Rococo

Francois Boucher Nude on a Sofa Toilet of Venus First Painter to King Louis XV Nude on a Sofa Toilet of Venus

Old vs. New Egalitarian Aristocratic Enlightened Tradition-bound Self sacrifice Aristocratic Tradition-bound Decadent

Thomas Jefferson – Rotunda at the University of Virginia

The Pantheon in Rome, Italy

Jacques-Germain Soufflot Sainte Genevieve, 1757-1792

Arc de Triomphe du Carrousel (1805)

Arch of Constantine, Rome, Italy

Napoleon -Canova Greek, c. 480 B.C.

Classicism in music Not modeled on ancient music Modeled on classical ideals: balance, symmetry, clarity Should appeal to both the amateur and professional

The Changing Audience Aristocratic in the Baroque Both middle class and upper class in 18th century Music that appeals to all Rise of comic opera Plots from everyday life More natural text setting Vernacular Instrumental music (played at public concerts) Focus on melody Balanced phrases From expression of affections to working out of conflict

The Situation of the musician: The Patronage system Benefits: Steady income Housed, fed, and clothed Worked with good musicians An audience of connoisseurs Disadvantages: Musicians were servants Had to cater to the patron’s tastes

Contrasting Careers: Haydn and Mozart Franz Joseph Haydn (1732-1809) Struggled to earn a living teaching in Vienna 1761-Got a position with the Esterhazy family

Wolfgang Amadeus Mozart (1756-1791) Leopold Mozart, violinist and composer for the archbishop of Salzburg Child prodigy Position for the archbishop of Salzburg Disagreements 1781-Mozart fired, moved to Vienna Age 7- tour of Europe Age 12- his first opera performed Age 13- studied composition in Italy

Conventions for Instrumental Genres 4 Movements: Fast-slow-minuet-fast Symphony (a new genre) String Quartet (developed from Baroque trio sonata) 3 Movements: Fast-slow-fast Keyboard Sonata Concerto (same principle as Baroque concerto)

Classical Style (vs. Baroque) Scoring: no basso continuo Dynamics: gradual changes; clarifies form Rhythm: a variety of rhythmic patterns within one movement; clarifies form Melody- balanced phrases; used to clarify harmonic and formal content

Classical Style (vs. Baroque) Harmony- Rameau develops a new theory of harmony (Treatise on Harmony, 1722) Progressions of harmonies Slower harmonic rhythm Texture: variety within one movement; clarifies form Form: Sonata form (developed from Baroque binary form)

Sonata Form: For first and last movements Part 1 Part 2 Exposition Development Recapitulation Section 1 Section 2 Section 3 Section 4 P (T, t) S (K, k) “Fantasy” P (T, t) S (K, k) • • • • • • I V V Modulatory I I i III III Modulatory i i or i I I

Classical Style (vs. Baroque) Baroque: rhetorical model Classical: dramatic model The working out and resolution of conflict

Mozart’s Da Ponte Operas Librettist Lorenzo Da Ponte: Le nozze di Figaro (The marriage of Figaro) 1786 Don Giovanni 1787 Cosi fan tutte (Thus do all women) 1790

Don Giovanni Don Giovanni Leporello- his servant Donna Anna- noblewoman Commendatore- her father Don Ottavio- her boyfriend Donna Elvira Zerlina- peasant girl 1

Die Zauberflöte (The Magic Flute) 1791 Singspiel Emanuel Schikaneder The plot and Freemasonry Protagonist’s (and audience’s) journey from ignorance and superstition to enlightenment

Die Zauberflöte’s Principal Characters Tamino - a Prince Sarastro – Priest of the Sun Queen of Night Pamina – her daughter Papageno – a bird catcher Monostatos – overseer of Temple Jenkens' Queen of Night/