ConcertoRitornello 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.

a b c c

b c

Solo 1 Solo 2

Solo 3 Solo 4

Vivaldi: Violin Concerto in G, I

Brandenburg Concerto No. 5, I

• Solo instruments: Flute, Violin, Harpsichord

• Large-scale Ritornello form with extended cadenza for harpsichord.

R11 2 3

I

R21

V

R32

V

R42

vi

R52

I

R61

V

R71 2

I

R82

I

R91 2 3

I

Central Solo

iii

Cadenza

V - I

1 9 19 20 29 31 40 42 59 61

71

101 102 121 125 137 138 154

219

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

• A single recapitulation, usually a blend of materials from both expositions

• Before 1K, there is an improvised cadenza

• The orchestra finishes alone

P T 1S K P T 2S K

P T 1S K2S

I I I I V

I

Exposition 1 (Orchestra) Exposition 2 (Orchestra & Soloist)

Cadenza

Recapitulation

Development

Mozart and J.C. Bach

• The form and style of the Mozartean concerto was strongly influenced by Johann Christian Bach, Sebastian’s youngest son.

• Mozart was J.C. Bach’s protége during his first London trip of 1764; both his symphonic and concerto styles were based on Bach’s models.

J.C. Bach

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

1P1

1T13

1S18

K30

R1

1P34

1T46

2S51

2T(1P)58

3S73

3T81

S1

Tran74

R2 S2 R3 S3

1P94

4S113

N121

1S139

Cadenza (Retransition)152

1P153

2S170

1T165

2T(1P)181

3S196

2S200

1P217

R4 S4

R5 S5 R6 S6 R7

I I I V

v I

V

II

Exposition #1 Exposition #2

Development

Recapitulation

Piano Concerto K. 476

• Mozart’s Treatment of Double-Exposition Sonata Form

1P1

T12

1S28

1P36

1K52

2K(1P)64

Tran74

1P80

~2P91

N109

2S128

1P194

1K205

Tran216

R1 S1 R2 S2 R3

I I I I v V

Exposition #1 Exposition #2

Development

223

S3

1P274

T297

2S313

1S351

1S355

2K(1P)384

T397

2K(1P)409

R4 S4 R5 S5 R6 S6 R7

Cadenza396

Recapitulation

I IV I I