Examples of ritornello

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A thrice-recurring ritornello appears in varied hues on each occasion.
In both fast movements - the first in ritornello form, the third a concertante rondeau - each obbligato instrument receives its own solo episode.
The ensuing second ritornello, mostly on the dominant, continues until the (slightly altered) repeat of the first ritornello in bar 44.
This aria opens in typical fashion, with a tutti ritornello, and concludes with an abbreviated variant of the initial tutti.
The first episode is effectively set off from the ritornello by its running passages and sparser texture.
Yet several of the latter, which she recognizes as exhibiting a 'ritornello-like' treatment of fast-movement themes, are also in three movements.
The material of this ritornello provides solid underpinning for the monumental, mostly block-chordal, vocal writing that follows.
Although the opening ritornello does not appear again intact, the movement ends with the ritornello's cadential phrase, now rescored to include the flute and violin.
Following the opening ritornello, the solo oboe enters to the accompaniment of the bass and written-out continuo chords in the strings.
The second ritornello is built regularly with eight bars but it is far less motivically coherent than the prelude.
There are also a few examples of poetic texts not organised into triplets, and lacking the ritornello, that are set to music as madrigals.
These appear to be the earliest printed sonatas to include movements in ritornello form.
The class to which a concerto belongs may be perceived from the first ritornello.
The idea of wedding a sonata-like ritornello with sonata-like episodes is taken up again in the concerto's third movement.
Except for the second ritornello, now divided between the organ and strings, the trio's ritornellos were adopted with only minor alterations.
Instead of concluding with a ritornello, however, the movement ends with a flashy coda that extends the tremolo figuration of the last two episodes to all three parts.
Though considerably less clear formally, the finale of the sixth sonata evokes the solo concerto through its virtuosic figuration, ritornello-like reappearances of opening material and all'unisono conclusion.
In scene 6, the aria introduces a fencing lesson which is ' danced' to the ritornello; scene 7 indicates a return to fencing when the ritornello is repeated.
Then, to the nobly loping accompaniment of the closing ritornello, a final, horrible picture flashes before us - the very image that has haunted the whole film.

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