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Topic: Ritornello

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Concerto

Symphony

Binary form

Sonata form

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Baroque music

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Musical form

Antonio Vivaldi

Minuet

Valve

1963

	Concerto [M.Tevfik Dorak]
		Before the ritornello form came into use, the movements were in binary, ternary or fugal forms.
		Towards the end of the seventeenth century, the fugal allegro (first/fast) movement of trio sonata was abandoned in concerto and replaced by the ritornello form in the mature Baroque concerto (from about 1690).
		The keystone of the construction in the outer movements is usually ritornello (punctuated by episodes) and in slow movements, ground bass.
	www.dorak.info /music/concerto.html (2047 words)

	Encyclopedia article: Ritornello (Site not responding. Last check: )
		Ritornello is a short return or repetition; a concluding symphony (A long and complex sonata for symphony orchestra) to an air, often consisting of the burden of the song.
		In Baroque music (additional info and facts about Baroque music), Ritornello was the word for a recurring passage for orchestra (A musical organization consisting of a group of instrumentalists including string players) in the first or final movement of a solo concerto (A composition for orchestra and a soloist).
		When the classical music era (additional info and facts about classical music era) started, the ritornello form was altered to resemble sonata form (A musical form having 3 sections -- exposition and development and recapitulation; characteristic of 1st movement of a sonata or symphony).
	www.absoluteastronomy.com /encyclopedia/r/ri/ritornello.htm (246 words)

	Encyclopedia: Ritornello (Site not responding. Last check: )
		At one extreme lie the ritornellos that are note-for-note the same as the strophes; at the other, those written in a contrasting metre that have no obvious connection beyond a common tonality.
		The final section of the fourteenth century madrigal was also called the ritornello and the ritornello technique was employed by Giovanni Gabrieli in his 16th century motets.
		Ritornello seeks to rescue certain compositions from the "serious music" category and return them to their proper place among the basic needs of men and women, as a universal language, by using small and even the smallest musical forms (the song, the dance) in their own elegance and rawness: a Baroque-Romantic "Return".
	www.nationmaster.com /encyclopedia/Ritornello (1058 words)

	MSN Encarta - Search Results - Ritornello
		Ritornello (Italian, "a little return"), in music, refrain which recurs at intervals throughout a piece.
		Vivaldi was the first composer who consistently used the ritornello form that became standard for the fast movements of concertos.
		The alteration of contrasting sections is expanded in forms such as the rondo and in the ritornello form developed in the concerto.
	uk.encarta.msn.com /Ritornello.html (98 words)

	Appendix - Rondo and Ritornello Forms in Tonal Music
		As Figure 1 indicates, the A section of a ritornello aria is normally a binary form, consisting of A and A'.
		It has been noted that a ritornello form need not necessarily end with a final statement of the ritornello, although this is certainly the norm.
		According to Cole, the ritornello idea is to an extent transferred to C.P.E. Bach's rondos as he uses transposed repetitions of the main theme.
	www.humanities.mcmaster.ca /~mus701/macmacvol2/contents/appendix.htm (3205 words)

	King Crimson: In The Court Of The Crimson King - An Analysis by Andrew Keeling
		The third ritornello is expanded by the growling, low F (5), F# (6) and G (7) riff.
		On the down beat we are launched into the first Ritornello, and hear the icey crash of the full tutti: mellotrons, acoustic guitar, cymbals (reinforced timbrally by an increase at the top-end of the harmonic spectrum) and bass guitar.
		Ritornello 4: as before but the guitar has more distortion and is played on every beat picking up from the Farfisa in the preceding fantasy.
	www.songsouponsea.com /Keeling/Keeling-InTheCourtOfTheCrimsonKing.html (6111 words)

	Introduction
		The first ritornello beginning with a G major tonic chord is a seventeen-measure long section in the instrumentation of violin, viola, cello, contrabass, and organ.
		Ritornello 4, same as Ritornello 2 and 3 in terms of melodic and rhythmic structure succeeds to the C major of its previous episode and goes into the last vocal episode, Episode 4, from C major returning to G major.
		The very last section, Ritornello 5 from measure 108-125, which is identical to the opening instrumental ritornello, takes the G major of its previous episode and concludes the movement in an imperfect authentic cadence at measure 125.
	www.public.asu.edu /~jwang2/Juiching/myworks/paper7-vivaldi.htm (2423 words)

	Musical Forms - Concerto
		It was the three-movement solo concerto of the Vivaldi type, with the quick movements usually in ritornello form, that survived the Baroque period and developed into the Classical concerto represented at its finest and most sophisticated in the 23 piano concertos of Mozart.
		Mendelssohn was influential in dispensing with the rigid solo-tutti division of the ritornello structure, in linking all the movements of a concerto and in the placing of cadenzas.
		A more conservative late Romantic tradition, retaining the ritornello design for the first movement but in a strongly symphonic manner, is represented by the concertos of Brahms, Dvorak (for cello) and Elgar (for violin).
	w3.rz-berlin.mpg.de /cmp/g_concerto.html (459 words)

	Ritornello
		It has an important function in Baroque music, allowing the vocal and instrumental parts to exist separately; the melodies were brief and easily learnt, thus encouraging the public to join the performers, to take part themselves.
		We have tried to show at what level this music is indeed "serious", by seeking the original intention of the composer, the original manner of performance, and by our interpretation to reveal the hidden world of the educated upper class of that time.
		"Ritornello" is a loose ensemble of musicians who have been playing together for some time, and as soloists in other groups: players are invited according to the demands of the compositions under study, chosen from little-known seventeenth century music.
	web.quick.cz /ritornello/stranky/english/ritornel.html (184 words)

	Ritornello Information
		In Baroque music, Ritornello was the word for a recurring passage for orchestra in the first or final movement of a solo concerto.
		When the classical music era started, the ritornello form was altered to resemble sonata form, though it later transformed to become rondo form.
		The final section of the fourteenth century madrigal was also called the ritornello and the ritornello technique was employed by Giovanni Gabrieli in his 16th century motets.
	www.bookrags.com /Ritornello (213 words)

	Bach - segment 8
		Especially in the fast outer movements of his three-movement concertos, Vivaldi had developed the concept of "ritornello form," a format in which the orchestra introduces a decisive main theme (or "ritornello") and returns to it throughout the movement, including at the very end.
		In between statements of the ritornello are "episodes," or passages in which the soloist or soloists play virtuosic material against a light, accompanimental orchestral background.
		It is possible to find concerto-like ritornello movements in these works, but in general Bach modifies the form to include an opening statement and closing statement of a ritornello theme, with several at least one version of it in the middle of the movement.
	net.unl.edu /musicFeat/composer/cmbachday8.html (1035 words)

	[No title] (Site not responding. Last check: )
		Ritornello or Rondo (Rondeau) Form is a form where one section keeps returning ('ritorning') to create blocks of melodic 'stability' between which episodes, of much less 'stable' melodic and harmonic material is played.
		The Ritornello is 8 bars long and breaks down into four 2-bar sections: x - y - x' - z: listen
		The x section is characterised by a quaver followed by two semiquavers and the preceding quaver anacrusis figuration that occurs on the first and second beat of both bars, and hence why bars 5 and 6 are x': listen
	members.lycos.co.uk /frameworks/Ritornello.html (223 words)

	Dell' Arte Cascardare
		The later sections, Mostra and Ritornello, are defined by their figures, and therefore they take their differences from the ways that the figures are done, or rather, from their steps.
		A Ritornello may either advance or retreat, and it may or may not be resolved, which is to say, a dancer may or may not come back to place by the end of the Ritornello.
		The Ritornello may be distinguished by the numbers of times it is done, by the direction or form of accomplishment, and by whether or not the travel in the Ritornello is resolved, which is to say whether or not the dancers return to the place from which they began the Rotirnello(10).
	www.pbm.com /~lindahl/lod/vol4/dell_arte_cascardare.html (4019 words)

	Bach Choir of Bethlehem
		One of the hallmarks of Vivaldi's style is his use of orchestral ritornellos, not just in his concertos (as in the concerto Spring from The Four Seasons), but sometimes in his sacred music (as in the first movement of his famous Gloria).
		Vivaldi typically began his concertos with a full statement of the orchestral ritornello (sometimes even two full statements), then in between solo passages, he would bring the ritornello back again, though often each subsequent appearance was a bit shorter than the previous.
		The first theme, the so-called "orchestral ritornello," is played by all instruments, solo and ripieno, at various times in the movement.
	www.bach.org /bach101/instrumental/brandenberg_2.html (971 words)

	Technical & Musical Terms & Abbreviations: Musical Terms
		After the instrumental introduction (ritornello), the initial phrase presented by the vocalist is sung prematurely, usually with only the first few measures/bars or one line of verse being involved.
		Another way to describe a ‘Devise’ is to think of a quotation of the main theme presented by the vocalist and standing isolated between the end of the instrumental introduction (ritornello) and the actual, true beginning of the vocal part of the aria.
		Or there is the famous instance in the aria “Geduld, Geduld” from the SMP (BWV 244/35) where the emotion is so strong that only a fragment or broken phrase (a sign of extreme emotion) is prematurely presented, and this fragment is not directly repeated when the voice enters for its main entrance.
	www.bach-cantatas.com /Terms-7.htm (1094 words)

	The Different Genres of Baroque Music
		The first and last movement is often based on the ritornello form.
		The tutti will begin with the ritornello theme this theme, always played by the tutti were come back very often, mostly in fragments.
		In comparison to the ritornellos the solo passages are made up of fresh melodic ideas, softer dnamicsm rapid scaled an broken chords.
	library.thinkquest.org /27927/Baroque_Genres.htm (934 words)

	Great Performances . Educational Resources . Composer Biographies . Antonio Vivaldi \| PBS
		He was the first composer to use ritornello form regularly in fast movements, and his use of it became a model; the same is true of his three-movement plan (fast-slow-fast).
		His methods of securing greater thematic unity were widely copied, especially the integration of solo and ritornello material; his vigorous rhythmic patterns, his violinistic figuration and his use of sequence were also much imitated.
		Into this category also fall "The Four Seasons," with their representation of seasonal activities and conditions accommodated within a standard ritornello form-these are described in the appended sonnets, which he may have written himself.
	www.pbs.org /wnet/gperf/education/vivaldi.html (562 words)

	genres
		J.C. Bach is credited with the juxtaposition of ritornello and sonata form in his early keyboard concertos.
		Here the orchestral introduction functions both as the orchestral ritornello or tutti and as an exposition that introduces the primary and secondary thematic material.
		This occures during the first solo which, in dialogue with the orchestra, by and large partly repeates the themes already introduced but with the necessary modulation between the 1st and 2nd subjects thus creating a "double exposition".
	music.arts.unsw.edu.au /musicliterature/concerto.htm (491 words)

	MSN Encarta - Search Results - ritornello
		Ritornello (Italian "a little return"), in music, a repeating section.
		In the 14th and 15th centuries, Ritornello was the refrain at the end of each...
		Exclusively for MSN Encarta Premium Subscribers--quickly search thousands of articles from magazines such as Time, Newsweek, The Atlantic Monthly, and Smithsonian.
	ca.encarta.msn.com /ritornello.html (54 words)

	Welcome to Ritornello Website
		Gifu, JAPAN - June 2, 2001 - Ritornello, Inc. today announced the availability of free downloads of Acappella, the trial new messaging service for i-Appli executable on Java cellular phones of NTT Docomo 503i series, from June 2, 2001.
		Ritornello, Inc. also starts the production by order of Java contents and building of servers using AlterACT and Acappella technologies.
		Ritornello, Inc. is an innovator in networked application and system, construction of Linux and database server, development of Java platform system for handheld devices, construction of ASP system for medical facilities and sales management, development of custom Windows application.
	www.ritornello.co.jp /englishhp/epress.htm (407 words)

	Kayak Stuff by Amazon
		The vocal lines are cast in the rhetorical "speech-song" used at the time, which carries the dramatic action and expresses the emotions of the characters; however, there is much elaborate coloratura and ornamentation at crucial moments.
		Instrumental "ritornellos" alternate with the vocal sections in infinitely varied, imaginative combinations, and the wonderfully rich-sounding chorus, impersonating shepherds, friends and furies, adds commentary in chorale-like or contrapuntal settings.
		In the prominent part of Orpheus, Ian Bostridge is riveting, changing and coloring his voice to express joy, hope, pleading, passion, anguish, despair; even the intricate coloratura passages add to the emotional impact.
	www.playak.com /modules.php?name=Amazon&asin=B0001BFIMS (543 words)

	Ritornello Form (Site not responding. Last check: )
		Sometimes the ritornello also occurs at the beginning of the song.
		Aside from the sinfonias, which serve a different purpose, the ritornelli are the only instrumental pieces in early operas.
		The ritornello instrumental refrain is a standard feature of German 17th-century strophic songs (arias).
	www.lcsproductions.net /MusHistRev/MusicalForms/Ritornello.html (176 words)

	Bach Choir of Bethlehem
		The solo violin concertos show Bach’s affinity for the Italian concerto design: a three-movement scheme, fast-slow-fast; with frequent use of an orchestral ritornello.
		Like the first movement, this movement is based on the ritornello idea, with alternating statements of that orchestral theme by the entire orchestra and solo passages accompanied by continuo.
		In this movement, there are four such sections, something common in Vivaldi’s works as well, though Vivaldi rarely followed the rondeau idea of including the main theme unchanged; in Vivaldi’s works, in fact, the ritornello statements tend to get smaller which each subsequent appearance, until the final one, which is stated in full.
	www.bach.org /bach101/instrumental/concerto_e_maj.html (903 words)

	Musical Analysis of La Liberazione Di Ruggiero
		Aria with Ritornello sung by Nettuno and Vistola Fiume
		Recitative and Aria with Ritornello sung by Nettuno
		Aria with Ritornello sung by soloist from the Coro di Damigella
	www.vanderbilt.edu /Blair/Courses/MUSL243/cacevent.htm (189 words)

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