Location via proxy:   [ UP ]  
[Report a bug]   [Manage cookies]                
Scribd Logo
Upload

Welcome to Scribd!

  • 18 views

    Concerto: Ritornello and Beyond

    Uploaded by

    Radost Galonja Krtinić
    The document discusses the ritornello form used in concertos. The ritornello is a recurring melodic block that alternates with transitional passages written for soloists. It may be incomplete or in different keys on returns. The double-exposition sonata form is also described, with two expositions - the first for orchestra alone in the tonic key, and the second joining the soloist modulating to the secondary key. Mozart's piano concertos were influenced by J.C. Bach, with whom Mozart studied in London, adopting his models of symphonic and concerto style.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd

    Concerto: Ritornello and Beyond

    Uploaded by

    Radost Galonja Krtinić
    18 views17 pages
    The document discusses the ritornello form used in concertos. The ritornello is a recurring melodic block that alternates with transitional passages written for soloists. It may be incomplete or in different keys on returns. The double-exposition sonata form is also described, with two expositions - the first for orchestra alone in the tonic key, and the second joining the soloist modulating to the secondary key. Mozart's piano concertos were influenced by J.C. Bach, with whom Mozart studied in London, adopting his models of symphonic and concerto style.

    Original Description:

    c

    Original Title

    Concerto

    Copyright

    © © All Rights Reserved

    Available Formats

    PDF, TXT or read online from Scribd

    Did you find this document useful?

    Is this content inappropriate?

    The document discusses the ritornello form used in concertos. The ritornello is a recurring melodic block that alternates with transitional passages written for soloists. It may be incomplete or in different keys on returns. The double-exposition sonata form is also described, with two expositions - the first for orchestra alone in the tonic key, and the second joining the soloist modulating to the secondary key. Mozart's piano concertos were influenced by J.C. Bach, with whom Mozart studied in London, adopting his models of symphonic and concerto style.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    18 views17 pages

    Concerto: Ritornello and Beyond

    Uploaded by

    Radost Galonja Krtinić
    The document discusses the ritornello form used in concertos. The ritornello is a recurring melodic block that alternates with transitional passages written for soloists. It may be incomplete or in different keys on returns. The double-exposition sonata form is also described, with two expositions - the first for orchestra alone in the tonic key, and the second joining the soloist modulating to the secondary key. Mozart's piano concertos were influenced by J.C. Bach, with whom Mozart studied in London, adopting his models of symphonic and concerto style.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    of 17

    Concerto

    Ritornello and Beyond

    Ritornello

    Main body is a melodic block also called the


    ritornello.

    The ritornello alternates with passages of a more


    transitional character.

    The transitional passages are written for the


    soloist(s).

    Returns of the ritornello are in various keys, and


    may be incomplete or fragmentary.

    Vivaldi:Violin Concerto in G, I
    a

    Solo 1

    Solo 3

    Solo 2

    Solo 4

    Brandenburg Concerto No. 5, I

    Solo instruments: Flute,Violin, Harpsichord


    Large-scale Ritornello form with extended cadenza
    for harpsichord.

    19

    20

    29

    31

    40

    42

    59

    R1

    R2

    R3

    R4

    R5

    123

    vi

    71

    Central Solo
    iii
    101

    102

    121

    125

    137

    R6

    R7

    R8

    12

    219

    R9
    123

    138

    154

    Cadenza
    V-I

    61

    Double-Exposition Sonata Form

    Two Expositions

    Orchestra alone in first exposition

    Remains in tonic key throughout


    Usually has its own array of S themes

    Soloist enters for second exposition

    Modulates to the secondary key


    Solo instrument usually has its own S theme

    Double-Exposition Sonata Form

    Development as in any other sonata form

    Before 1K, there is an improvised cadenza

    A single recapitulation, usually a blend of


    materials from both expositions
    The orchestra finishes alone

    Exposition 1 (Orchestra)

    Exposition 2 (Orchestra & Soloist)

    1S

    1S

    2S

    Development

    Recapitulation

    P
    I

    Cadenza

    2S

    Mozart and J.C. Bach

    The form and style of the Mozartean concerto


    was strongly influenced by Johann Christian Bach,
    Sebastians youngest son.

    Mozart was J.C. Bachs protge during his first


    London trip of 1764; both his symphonic and
    concerto styles were based on Bachs models.

    J.C. Bach

    Klavier Concerto in B-flat Major, Op. 13, No. 4

    Exposition #1
    1P
    1

    1T
    13

    Exposition #2
    1S
    18

    K
    30

    1P
    34

    1T
    46

    Tran
    74

    2S
    51

    2T(1P)
    58

    3S
    73

    3T
    81

    R1

    S1

    R2

    S2

    R3

    S3

    Development
    1P
    94

    4S
    113

    N
    121

    1S
    139

    Cadenza (Retransition)
    152

    V
    R4

    S4

    Recapitulation
    1P
    153

    I
    R5

    1T
    165

    2S
    170

    2T(1P)
    181

    3S
    196

    S5

    R6

    2S
    200

    S6

    1P
    217

    R7

    Piano Concerto K. 476

    Mozarts Treatment of Double-Exposition Sonata


    Form

    Exposition #1

    Exposition #2

    1P
    1

    T
    12

    1S
    28

    1P
    36

    1K
    52

    2K(1P)
    64

    Tran
    74

    1P
    80

    ~2P
    91

    N
    109

    I
    R1

    S1

    R2

    T
    397

    S2

    Development
    223

    S3
    Recapitulation
    1P
    274

    T
    297

    2S
    313

    1S
    351

    IV

    R4

    S4

    R5

    1S
    355

    2K(1P)
    384

    Cadenza
    396

    S5

    R6

    S6

    2K(1P)
    409

    R7

    2S
    128

    1P
    194

    1K
    205

    R3

    Tran
    216

    You might also like