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Related to Ritornello form: ritornelli, Rondo form


n. pl. ri·tor·nel·li (-lē) or ri·tor·nel·los
1. An instrumental interlude recurring after each stanza in a vocal work.
2. A passage or section for full orchestra in a concerto or aria.
3. An instrumental interlude in early 17th-century opera.
4. The refrain of a rondo.

[Italian, diminutive of ritorno, return, from ritornare, to return, from Vulgar Latin *retornāre; see return.]


n, pl -los or -li (-liː)
1. (Classical Music) an orchestral passage between verses of an aria or song
2. (Classical Music) a ripieno passage in a concerto grosso
Also called: ritornel, ritornelle or ritournelle
[C17: from Italian, literally: a little return, from ritorno a return]


(ˌrɪt ərˈnɛl oʊ)

n., pl. -los, -li (-li)
1. an orchestral interlude between arias, scenes, or acts in 17th-century opera.
2. a tutti section in a concerto grosso, aria, etc.
[1665–75; < Italian, diminutive of ritorno return]
References in periodicals archive ?
By examining Carter's intriguing use of ritornello form with two specific works, the Boston and ASKO Concertos, Boland identifies an interesting conflict in these pieces, one that could be applied to a large number of Carter's late works.
In the opening to the Quoniam, Bach uses non-quoting ritornello form to frame the dialogue between the horn and bass.
The three- or four-movement compositions always start with a slow movement reminiscent of the introductory movement of a trio sonata, but the second fast movements which probably draw most from the Vivaldian style are often in two parts and only occasionally can we sense in them any germ of ritornello form; the second movement of the first concerto may have been inspired by Vivaldi's Violin Concerto op.
All three use principles of the ritornello form and da capo aria form, but none are without unique modifications, often to the point of defying description or categorization.
He argues that the link between them is a critical fiction, and in analyses of the slow movement of the C major concerto K467 and `Porgi amor' from Act 2 of Le nozze di Figaro he seeks to demonstrate that Mozart uses ritornello form in very different ways in the two genres.
There is no sustained discussion of his treatment of forms such as ritornello form and the French overture, of his position vis-a-vis the 'national' styles, of his concessions to the 'Neapolitan' idiom in his later music, of his very forward-looking orchestration, or of his remarkably assured setting of English words.