Professional Documents
Culture Documents
REFERENCES
Linked references are available on JSTOR for this article:
http://www.jstor.org/stable/830275?seq=1&cid=pdf-reference#references_tab_contents
You may need to log in to JSTOR to access the linked references.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted
digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about
JSTOR, please contact support@jstor.org.
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at
http://about.jstor.org/terms
American Musicological Society, University of California Press are collaborating with JSTOR to
digitize, preserve and extend access to Journal of the American Musicological Society
This content downloaded from 193.147.185.45 on Fri, 16 Jun 2017 15:20:40 UTC
All use subject to http://about.jstor.org/terms
The Ripresa, the Ritornello, and
the Passacaglia
BY RICHARD HUDSON
This content downloaded from 193.147.185.45 on Fri, 16 Jun 2017 15:20:40 UTC
All use subject to http://about.jstor.org/terms
THE RIPRESA, RITORNELLO, AND PASSACAGLIA 365
4 Major triads will be indicated by upper case Roman numerals, minor by lower
case. For further description of the chord-rows and the various forms in which th
appear, see Otto Gombosi's articles: "Italia, patria del basso ostinato," La rasseg
musicale, VII ('934), 14-25; and "Zur Friihgeschichte der Folia," Acta musicologi
VIII (1936), II19-29. See also John Ward, "The Vihuela de Mano and Its Mu
(I536-I576)" (unpublished Ph.D. dissertation, New York University, 1953), pp. 29
348; and Lawrence H. Moe, "Dance Music in Printed Italian Lute Tablatures from
1507 to i611" (unpublished Ph.D. dissertation, Harvard University, 1956), pp. 12
34 and 154-69.
51 have described the relationship between Scheme V and the folia in "The Folia
Dance and the Folia Formula in I7th Century Guitar Music," to be published in
Musica Disciplina, XXV (i971-).
6 See Georg Reichert, "Giacomo Gorzanis' 'Intabolatura di liuto' (1567)) als Dur-
und Molltonarten-Zyklus," Festschrift Karl Gustav Fellerer (Regensburg: Gustav
Bosse Verlag, 1962), pp. 428-38.
This content downloaded from 193.147.185.45 on Fri, 16 Jun 2017 15:20:40 UTC
All use subject to http://about.jstor.org/terms
Example i
Chordal Organization in Italian Dances ca. 500oo- 6o
Mode CentralCord-rows
chordal
idea Expansion Principalidea
of central variation chords
unit I
B qadroeO
mode
rr. I Schem
per ..,.,_ _..A.39_"_
V I IV V I VIIi IX II IV
II VV II IV V I
i i
Scheme(
i i
This content downloaded from 193.147.185.45 on Fri, 16 Jun 2017 15:20:40 UTC
All use subject to http://about.jstor.org/terms
THE RIPRESA, RITORNELLO, AND PASSACAGLIA 367
teenth century, where melody is totally absent. Exx. 2, 3 and 4 are guitar
compositions showing first almost no variation (Ex. 2), then variation
applied to the mode per B quadro (Ex. 3), and to the mode per B
molle (Ex. 4). I have transcribed the guitar triads (which simply fill the
full range of the instrument, with no regard for which note is the lowest)
by their roots and chord numerals, with stems indicating the direction
the hand moves in strumming the chords. Ex. 2 shows that when no
variation chords are present each framework chord occupies two full
measures (in other pieces this may be one, three, four or more measures).
In this example variation chords are added only near the end for the
purpose of cadence. Exx. 3 and 4 illustrate more elaborate chordal
variation, for the two measures otherwise occupied (as in Ex. 2) by each
framework chord are now filled as follows: all or most of the opening
measure, and sometimes part of the second, are devoted to the frame-
work chord, which is emphasized by a special rhythm; the remainder of
the time may be occupied by chords that circle the framework chord
(Ex. 3, third measure from the end) or anticipate the next framework
chord (second full measure). In the examples the appearance of each
framework chord is indicated by a number above the staff and a square
around the chord numeral; the extent of its effect, along with the varia-
tion chords that encircle it, is shown by parentheses; the numerals in
brackets show how the variation chords relate to the framework chords
(as V-I or IV-V-I, in the manner shown in Ex. I). Variation chords may
thus either prolong the effect of a previously sounded framework chord,
or anticipate the next chord of the row. Melody acts in a similar fashion,
and both are in action simultaneously in the keyboard excerpt from
155 in Ex. 5. Here chordal variation is applied to the framework chords
in precisely the manner seen in the previous guitar examples, but this
time in company with melodic figuration.
Since I have described in detail the chordal organization of music in
the dance style in another article,' this brief summary will suffice here.
Careful study of Exx. 1-5 will make clear most of the techniques of
composition applied rather consistently throughout the history of the
dance style. I will refer back to some of these techniques later, since
the ripresa, the ritornello, and the passacaglia are shaped by the same
principles of musical construction. Functionally, the riprese serve in
groups of two or more as purely instrumental sections that alternate
with the principal music of a dance or song. In instrumentally accom-
panied songs the riprese thus provide an intonazione before the voice
begins, as well as interludes between the stanzas. Dance riprese appear
between choreographic cycles to allow the dancers time to assume the
proper position for the next movement. In addition, longer and more
7 "Chordal Aspects of the Italian Dance Style 1500-1650," Journal of the Lute
Society of America, III (1970), 35-52.
This content downloaded from 193.147.185.45 on Fri, 16 Jun 2017 15:20:40 UTC
All use subject to http://about.jstor.org/terms
368 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
Example 2
Florence, Biblioteca Riccardiana, MS 2804 [ca. 16301], fol. 25: Pass'emezzo semplice.
Scheme IVN N
V I N V V KV V I
Example 3
F l IV ( i V v IV v 1
( jj] ) (IV VII I IV
vI IVI" V 1I I
I V V1 I Iv V '
) op IV V [ ) ( V
II IVI VA
I1
This content downloaded from 193.147.185.45 on Fri, 16 Jun 2017 15:20:40 UTC
All use subject to http://about.jstor.org/terms
THE RIPRESA, RITORNELLO, AND PASSACAGLIA 369
Example 4
Carlo Milanuzzi, Secondo scherzo delle ariose vaghezze (Venice, 1625), P-. 56: Romanesca.
Scheme III
0 I A J I l2 3
(II[ VII III ) ( IIV VII ) (
[V I] [V IJ
4 5
V) (I II V ) ( VII III
[IV V 1.1 [V I
6 7 8
I] I I
([ IV [V
VII
I] ) (IV i Vi
Ritorn ello
) (IV V )
Example 5
Intabolatura nova di varie sorte de balli . . . L ibro primo (Venice: A. Gardane, 155 ), fol.
3v, transcr. D. Heartz, Corpus of Early Key board Music, VIII (American Institute of Mu-
sicology, 1965), PP. 38-39, opening half of Pass'e mezo nuovo, showing only the melody,
bass, and chord numerals.
Scheme IV
( ) (IV I IV I IV VII I
[I V I V I IV V
It
This content downloaded from 193.147.185.45 on Fri, 16 Jun 2017 15:20:40 UTC
All use subject to http://about.jstor.org/terms
370 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
4 5
[V I IV V 11
This content downloaded from 193.147.185.45 on Fri, 16 Jun 2017 15:20:40 UTC
All use subject to http://about.jstor.org/terms
THE RIPRESA, RITORNELLO, AND PASSACAGLIA 371
Example 6
Structural Relationship between the Riprese and the Chord-row.
Scheme IV
1 2 3 4 5 6 7 8 (a) Repeat or return of I
I IV I V I IV I V I I
pected. Howeve
or passacagli) ap
most the entire
as are depicted
specific term fo
its component
tinuous chains o
As late as 1687
Ritornelli nel b
Passagagli [sic] as
are numerous an
specifically to a
comes a unit of
follows, or altern
This is made u
seems to anticip
that have been
This content downloaded from 193.147.185.45 on Fri, 16 Jun 2017 15:20:40 UTC
All use subject to http://about.jstor.org/terms
372 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
Example 7
Fabritio Caroso, II ballarino (Venice, 158 ), Trattato II.
- -, ,Z. ,
(I IV V ) (IV V []7 )
11 This composition is unique, as far as I
steps for the ritornello as well as for the m
the second and third renditions of the sonata occur Due Ritornelli della Sonata,
which are accompanied choreographically by pushing one foot forward during
each measure-certainly a minimum of activity.
12 Caroso, II ballarino, Trattato II, fol. 95': Bella gioiosa. This is the only time I
have seen a three-fold repetition indicated for an internal ritornello.
13 Caroso, Nobiltd di dame, p. 328: Vero amore; i6o5 edition (identical, as far as
I can tell, to the original edition of i6oo), transcribed by Oscar Chilesotti in
Biblioteca di raritd musicali (Milan: G. Ricordi, [i884-1915]), I (reprinted as
Sezione IV, N. 22, of Bibliotheca musica bononiensis: Danze del secolo XVI
[Bologna: Forni, 1969]), p. 46.
14 Ibid., ioth to 5th pages before the numbered pagination begins: Celeste giglio
(Biblioteca di raritd musicali, I, 8-12.)
15 For example, ibid., pp. I 6-i20: Laura sauve (Biblioteca di raritd musicali, I,
22-25).
This content downloaded from 193.147.185.45 on Fri, 16 Jun 2017 15:20:40 UTC
All use subject to http://about.jstor.org/terms
THE RIPRESA, RITORNELLO, AND PASSACAGLIA 373
3 4 5
6 7 8
Ritornello
(I IV I V )l
This content downloaded from 193.147.185.45 on Fri, 16 Jun 2017 15:20:40 UTC
All use subject to http://about.jstor.org/terms
374 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
harmony from the main piece.16 Ex. 6 suggests that the element
returns from the main piece is its concluding structure chord, wh
then is varied independently from the main piece but according t
same principles of melodic and chordal variation. We will see some
sults of such variation as we turn now to a more detailed examination
of the structures of various types of riprese. Harmony and rhyt
are simplest and most uniform in internal riprese (those that preced
songs or appear between sections of a song or dance). Therefore I wi
discuss first the standard internal riprese, then the double riprese (wh
only rarely appear in a concluding role), and finally the most compl
and varied type, the standard riprese that conclude a dance or a pair
dances.
Standard internal riprese occur almost always in pairs and for over a
century display a remarkable uniformity of pattern. Exx. 8a, b, and c
show the main features of their harmony and rhythm. The ritornelli
in the guitar romanesca of 1625 (Ex. 4) follow the pattern of Ex. 8a,
with signs for exact repetition of a single phrase. A number of gaillardes
from Attaingnant's publications of 1530 and 1531 possess sets of un-
marked riprese with harmonic patterns like Exx. 8a or c; each is written
out, since the two phrases in a pair differ melodically.17 Ex. 9 presents
16Willi Apel, in Geschichte der Orgel- und Klaviermusik bis 1700 (Kassel:
Birenreiter, 1967), p. 234, states, in connection with some pieces from Attaingnant's
Quatorze gaillardes . . . (Paris, [1531]): "Man erkennt hier deutlich den urspriing-
lichen Sinn der Ripresa, nfimlich einer bestitigenden Wiederholung der Schluss-
wendung der Hauptmelodie." Apel seems to be intrigued by riprese; I am indebted
to his book for helping me locate keyboard examples (see the index of his book
under both ripresa and ritornello for further references). Apel also mentions (p.
545) the ripresa that Froberger sometimes adds to the end of a saraband. This is an
exact repeat (either written or indicated by signs) of the last three to five measures
of the main piece. This sort of repetition never happens, as far as I know, in the
dance riprese of the i6th and i7th centuries. Therefore, I would conclude that
Froberger's repeat is not a ripresa as we are using the word, especially since there
seem to be no other sarabands provided with riprese.
17 Dixhuit basses dances . . . (Paris, [1530]) contains two such gaillardes; tran-
scribed by Daniel Heartz in Preludes, Chansons and Dances for Lute, Published by
Pierre Attaingnant, Paris (1529-1530) (Publications de la Soci6te de Musique
d'Autrefois, Textes musicaux, II [Neuilly-sur-Seine, I9641), pp- 99 (No. 83) and
o102 (No. 85). The first is based on Scheme III, which is followed by a pair of
riprese with the pattern of Ex. 8c; the other presents riprese of the same type
attached to a B quadro scheme. Riprese also appear with three gaillardes in At-
taingnant's Quatorze gaillardes . . . (Paris, ['53'1), printed in Keyboard Dances
from the Earlier Sixteenth Century, ed. Daniel Heartz (Corpus of Early Keyboard
Music, VIII [American Institute of Musicology, 19651), pp. 5-6 (No. 3), 8-9 (No. 6)
[the riprese are in mm. 17-19], and 29 (No. 24). Riprese may also exist in two
earlier sources. In the dance collection from around 1520 transcribed by Knud
Jeppesen in Balli antichi veneziani per cembalo (Copenhagen: Wilhelm Hansen,
1962), see the identical phrase that concludes dances No. 12 (p. 9), 26 (p. 18), and
33 (p. 23), as well as the phrase at the end of No. 35 (P. 24). Joan Ambrosio Dalza,
in his Intabulatura de lauto, libro quarto (Venice: Petrucci, i5o8), includes ripresa-
like phrases in some of his pavane alla venetiana. See, for example, the third one on
fol. 14, transcribed by Helmut M6nkemeyer in Die Tabulatur, VII (Hofheim am
This content downloaded from 193.147.185.45 on Fri, 16 Jun 2017 15:20:40 UTC
All use subject to http://about.jstor.org/terms
THE RIPRESA, RITORNELLO, AND PASSACAGLIA 375
Example 8
Rhythmic Organization of the Triple-meter Riprese
(a) Standard internal riprese: basic form, with harmonic variants applicable to either
phrase . - I -
IV.
IV
(IV V il )
(c) A variant form.
(I IV V )F
( i iW A i 1 V )
... IIV ( V u II v )
(e) Internal double riprese.
_t I I I I I
(iV II v < 1i IV V )
IFV 11
portions of a lute saltarello of Waissel, one of the few composers to
show both internal and concluding riprese attached to the same piece;
his two internal riprese follow the pattern of Ex. 8a. Thus, examples
from a wide range of time illustrate essentially the same features: usually
Taunus: Friedrich Hofmeister, 1967), pp. 14-i5. The i6-measure B quadro scheme
(the same one used in the Attaingnant gaillarde mentioned above, No. 85 from
Dixhuit basses dances) appears two times followed by a single phrase of I-IV-V-I,
and a third time (in which one measure seems to be missing) followed by two
such phrases. Concerning this scheme and the possible riprese, see Compositione di
Meser Vincenzo Capirola, Lute-Book (circa y517), ed. Otto Gombosi (Publications
de la Societe de Musique d'Autrefois, Textes musicaux, I [Neuilly-sur-Seine, 1955]),
pp. LXIV-LXXII.
This content downloaded from 193.147.185.45 on Fri, 16 Jun 2017 15:20:40 UTC
All use subject to http://about.jstor.org/terms
376 JOURNAL OF THE AMIERICAN MUSICOLOGICAL SOCIETY
Example 9
Matthius Waissel, Tabulatura (Frankfurt/O., 1573),fol. G4: excerpts from El suo (refer-
ring to the Pass e, mezo) saltarello.
Scheme VII
z 3
wI _ __ I * _ II
z unmarked standa
IPIP
) (IV(IV V
, ._ ,j : .
This content downloaded from 193.147.185.45 on Fri, 16 Jun 2017 15:20:40 UTC
All use subject to http://about.jstor.org/terms
THE RIPRESA, RITORNELLO, AND PASSACAGLIA 377
(IV V j ) (IV
3
(V W )(IV V
vFi- ) j,
LA% K ___
j.
This content downloaded from 193.147.185.45 on Fri, 16 Jun 2017 15:20:40 UTC
All use subject to http://about.jstor.org/terms
378 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
(El v I
This content downloaded from 193.147.185.45 on Fri, 16 Jun 2017 15:20:40 UTC
All use subject to http://about.jstor.org/terms
THE RIPRESA, RITORNELLO, AND PASSACAGLIA 379
dert, ed. Adolf Koczirz (Vienna, 1911; reprint Graz: Akademische Druck
Verlagsanstalt, 1959), PP. 113-14. See also Elias Nicolaus Ammerbach, Orgel o
Instrument Tabulatur (Leipzig, i571), copy in Cambridge, University Librar
fols. P3v-P4: Saltarella altera cum reprisa, last seven measures (see also fn. 4
below); Da un codice Lauten-buch del cinquecento, ed. Oscar Chilesotti (Leipz
Breitkopf & Hirtel, [8901]), pp. ii (Gagliarda), 44-45 (Saltarello della Favorita),
49 (Passo mezzo); and the Otras tres diferencias of Luis de Narvyiez in Los sey
libros del Delphin de mzsica (Valladolid, 1538), transcribed by Emilio Pujol i
Monumentos de la miisica espafiola, III (Barcelona, 1945), 87-89-
19 Op. cit. (see fn. i8 above), Denkmdler der Tonkunst in Osterreich, Jg. XVIII
Bd. 37, p. Iii: Aria (mm. 21-28) and Aria per cantare (last four measures).
20 Transcribed by Gerald Lefkoff in Five Sixteenth Century Venetian Lute
Books (Washington D.C.: Catholic University of America Press, 1960), pp. 14
Da cantar (No. 34), 139-40: Favorita (Nos. 28-31), and i42: Fantinella aria
cantar (No. 37).
21 "Tinze und Arien fiir Klavier aus dem Jahre 1588," Archiv fiir Musikwissen
schaft, XVII (196o), 51-6o. The arie are printed in Marco Facoli, Collected Wor
ed. Willi Apel (Corpus of Early Keyboard Music, II [American Institute of Mu
cology, 19631), pp. 23-32 (Nos. 7-19). Most of them have marked or unmark
riprese.
22 Alonso de Mudarra, Tres libros de muzsica en cifra para vihuela (Seville,
1546), transcribed by Emilio Pujol in Monumentos de la muzsica espajola, VII (Bar-
celona, 1949), 20-21 and 30. The Storace example is printed in Corpus of Early
Keyboard Music, VII, 30-37; for that of Strozzi, see fn. 9 above. Additional examples
may be found in Becchi's lute book of 1568 (Lefkoff, op. cit., pp. I38-39) and in
Antonio Valente's Intavolatura de cimbalo (Naples, 1576): La romanesca is printed
in Silva iberica, ed. Macario Santiago Kastner (Mainz: B. Schott's SiShne, ['9541),
pp. 4-7. Numerous examples are also in almost every guitar book from the first half
of the I7th century. Although not entitled romanesca, Diego Ortiz's Recercada
settima is based on Scheme III and concludes with two riprese like Ex. 8a; it appears
in his Tratado de glosas sobre clausulas y otros generos de puntos en la mzisica de
violones (Rome, 1553), pp. 126-29; modern ed. by Max Schneider (Kassel: Baren-
reiter, 1967). I believe the E's in the IV chords should not be flatted, as suggested
by Schneider.
This content downloaded from 193.147.185.45 on Fri, 16 Jun 2017 15:20:40 UTC
All use subject to http://about.jstor.org/terms
380 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
This content downloaded from 193.147.185.45 on Fri, 16 Jun 2017 15:20:40 UTC
All use subject to http://about.jstor.org/terms
THE RIPRESA, RITORNELLO, AND PASSACAGLIA 3 8 I
(b); in (d) I and II are both included. V thus becomes in this context a
structure chord on a secondary level; its effect is indicated in Ex. io
by dotted squares and parentheses. The I chord sometimes inserted
at the end of the fourth measure of (b) or (c) is an anticipation of the
structural I chord of the second half, acting in the same manner as the
tonic chord in the fourth full measure of Ex. 3, which precedes and an-
ticipates its structural appearance in the next measure.
Example o
Harmonic Variety within the Double Ripresa. [The notes are roots of triads; e= an alter-
nate chord; (e) = a chord that may be inserted.]
(a) Variations on the basic form.
( II V II IV V I
[V I V II
(?V I (XI II V )
[IV v II
This content downloaded from 193.147.185.45 on Fri, 16 Jun 2017 15:20:40 UTC
All use subject to http://about.jstor.org/terms
382 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
Example ii
Waissel, Tabulatura (1 573), fol. 14,: excerpts from Saltarello.
Scheme IV
-- 2 3
( )(IV] ) (
2 unmarked double
)(v LV i u v
S1 ii V
I(v v II
SiV V V
This content downloaded from 193.147.185.45 on Fri, 16 Jun 2017 15:20:40 UTC
All use subject to http://about.jstor.org/terms
THE RIPRESA, RITORNELLO, AND PASSACAGLIA 383
This content downloaded from 193.147.185.45 on Fri, 16 Jun 2017 15:20:40 UTC
All use subject to http://about.jstor.org/terms
384 JOURNAL OF THE AMIERICAN MUSICOLOGICAL SOCIETY
formity of musical treatment is accompanied by inconsistency in mark-
ing the sections. Table I presents a comparison of the various systems
of numbering; the abbreviation "Rep." (which may have meant "re-
peat," "reprise," or even "reprisa") refers here to the varied repetition
of a section.
Scheme IV -
Scheme IV 2 Rep. Rep. 2 - Rep. Rep.
Ripresa 3 small 2 3 2 2
Ripresa 4 Rep. Rep. 4 - Rep. Rep.
Scheme IV 5 large 2 5 3
Scheme IV 6 Rep. Rep. 6
Ripresa 7 small 2 7 4
Ripresa 8 Rep. Rep. 8
Scheme IV large 3 9
Scheme IV Rep. 10
Ripresa small 2 11
Ripresa Rep. 12
This content downloaded from 193.147.185.45 on Fri, 16 Jun 2017 15:20:40 UTC
All use subject to http://about.jstor.org/terms
THE RIPRESA, RITORNELLO, AND PASSACAGLIA 385
variable number of times (four or six in this case), and the second half
appears only once. Ex. Iod shows their structure, in which I and II,
the variation chords of V, act as both a prolongation of the preceding V,
as well as an anticipation of the V which begins each repeat or opens the
second half. A comparison of this form (Ex. 8d) with that of the stand-
ard riprese (Ex. 8a) reveals striking rhythmic and harmonic similarities.
Examples of such concluding double riprese occur also in the works of
Facoli, Radino, and Picchi.31 All except Picchi refer to this type with
the singular term ripresa. Since Facoli seems particularly careful with
his terminology, this must be a recognition that the word in its essen-
tial meaning indicates a structural repeat of the I chord from the main
scheme; hence, no amount of repetition of the first half of the double
ripresa (which is based structurally on V) will produce more than a
single structural return of I, which occurs in the second half.
A very rare type of double ripresa should also be mentioned. Since
the chord-rows usually end on a major tonic triad, riprese tend to take
their shape from the B quadro system, as depicted in Ex. 6. However,
Ex. 12 shows the construction of another type, based on the central
chords of the mode per B molle. Internal examples based on the struc-
this source are printed in Friedrich Blume, Studien zur Vorgeschichte der
Orchestersuite im 15. und 16. Jahrhundert (Berliner Beitrage zur Musikwissenschaft,
I [Leipzig: F. Kistner & C. F. W. Siegel, 1925]), Anhang B, Beispielen 25a (pp.
47-53) and 25b (pp. 53-58). The Pass'e mezzo antico by itself is also printed in A
Treasury of Early Music, ed. Carl Parrish (New York: W. W. Norton & Company,
Inc., 1958), pp. 197-201 (No. 35). In addition, the Pass'e mezzo antico and its sal-
tarello are arranged for keyboard in Jacob Paix, Ein schbin Nutz unnd gebreiichlich
Orgel Tabulaturbfich (Lauingen, 1583). However, there must have been two dif-
ferent editions of this work during the same year, since one version is included
by Schuler as an Anhang to his edition of Mainerio's work (pp. 50-57), and another
is printed in Wilhelm Merian, Der Tanz in den deutschen Tabulaturbiichern (Leip-
zig: Breitkopf & Hartel, 1927; reprint, Hildesheim: Olms, 1967), pp. i35-39. Con-
cerning Mainerio's riprese see, in addition to the Einleitung of Schuler's edition, his
article "Zur Friihgeschichte der Passacaglia," Die Musikforschung, XVI (1963),
121-26.
This content downloaded from 193.147.185.45 on Fri, 16 Jun 2017 15:20:40 UTC
All use subject to http://about.jstor.org/terms
386 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
Example i
Harmonic Variety within the Double B molle Ripresa
(a) Basic form.
III i
(b) The f
(c) The fo
ture of
baldi.33
peated
keyboar
Collegia
with pa
one to el
The dou
interna
rhythm
32 One u
sobre Las
modern
I (Brookl
33The Pa
Toccate e
in Bologn
della rom
d'intavol
Pierre Pidoux in Girolamo Frescobaldi, Orgel- und Klavierwerke, III (Kassel:
Bairenreiter, 1954), PP- 46-54. Both pieces are discussed by Apel in Geschichte der
Orgel- und Klaviermusik, pp. 450-54 (note especially Fig. 473). In both sets some
of the variations have a double ripresa, others none; five in the 1637 edition have
riprese of the standard length.
34I want to express my thanks to Prof. H. Colin Slim of the University of
California, Irvine, who is preparing a transcription of these manuscripts for future
volumes of Corpus of Early Keyboard Music, and who kindly allowed me to
examine both his microfilm copies and his transcriptions. At his suggestion I will
use the fascicle numbering which he employed in his Ph.D. dissertation, "The Key-
board Ricercar and Fantasia in Italy ca. i5oo-I55o, with Reference to Parallel Forms
in European Lute Music of the Same Period" (unpublished, Harvard University,
1961). He lists the contents of the two fascicles containing riprese on pp. 87-91
(fasc. III) and 103 (fasc. VII). Double B molle riprese occur in fasc. III, fols. 1-3
(La coda), 12v-I4, 20'-22, and 22'-24V; and in fasc. VII, fols. I2v-13v. Three of the
ripresa groups are labeled La coda, two La ripresa, terms which appear to be inter-
changeable in these manuscripts, for they appear with both standard and double
riprese. La coda may be synonymous with my expression "concluding riprese."
This content downloaded from 193.147.185.45 on Fri, 16 Jun 2017 15:20:40 UTC
All use subject to http://about.jstor.org/terms
THE RIPRESA, RITORNELLO, AND PASSACAGLIA 387
cluding standard riprese, however, show far greater diversity, even within
the same composition. Furthermore, because of their greater number
they create the effect of a set of ostinato variations. They usually fol-
low a saltarello or gagliarda paired with a passamezzo or pavana, and
hence tend to be in triple meter. Most often they are associated with
Scheme VII, but may appear with the other schemes.
Ex. 13 is an attempt to show as briefly as possible the extent of their
harmonic diversity. The basic pattern of V and I shown in Ex. 6b ap-
pears in whole notes in Ex. I3a; the whole notes in (b) through (g)
give other possible distributions of V and I.35 This is chordal variation
of the sustained I chord of Ex. 6a on the most elementary level. Once
these patterns are created, then a second level of chordal variation may
take place, whereby each of these two chords (V and I) may be varied
Example I 3
Harmonic Variety within the Standard Ripresa.
[ o = an alternate triad. i
(a) I
V I
(b)
(e) ' I-
(g) _Jr-- . -- ]
" Note that none of the struc
which is the common cadence p
7 and 8 in Ex. 6). It sometimes
ripresa (Exx. ioa and b).
This content downloaded from 193.147.185.45 on Fri, 16 Jun 2017 15:20:40 UTC
All use subject to http://about.jstor.org/terms
388 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
Example 14
The Technique of Variation Chord Insertion in the Standard Concluding Riprese of Ex.
I3a.
(a) (b)
(IV V ) (V ) (IV
(c) (d)
V ) (II V
[V 11
This content downloaded from 193.147.185.45 on Fri, 16 Jun 2017 15:20:40 UTC
All use subject to http://about.jstor.org/terms
THE RIPRESA, RITORNELLO, AND PASSACAGLIA 389
This content downloaded from 193.147.185.45 on Fri, 16 Jun 2017 15:20:40 UTC
All use subject to http://about.jstor.org/terms
390 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
Example 15
Intabolatura de leuto (Milan: Casteliono, 15 36), fol. io,: the opening three standard con-
cluding riprese from the Saltarello paired with the Pavana chiamata la Milanesa bv Pietro
Paolo Borrono.
Le riprese
(V I )(IV
Of r. RW F
This content downloaded from 193.147.185.45 on Fri, 16 Jun 2017 15:20:40 UTC
All use subject to http://about.jstor.org/terms
THE RIPRESA, RITORNELLO, AND PASSACAGLIA 391
This content downloaded from 193.147.185.45 on Fri, 16 Jun 2017 15:20:40 UTC
All use subject to http://about.jstor.org/terms
392 JOURNAL OF THE A-MERICAN IUSICOLOGICAL SOCIETY
~ca----;- ~ ]Mini-
48 Printed in Biblioteca di raritd musicali, II, 23-25, and in the Antologia . . . of
Tagliapietra, V, 93-95.
This content downloaded from 193.147.185.45 on Fri, 16 Jun 2017 15:20:40 UTC
All use subject to http://about.jstor.org/terms
THE RIPRESA, RITORNELLO, AND PASSACAGLIA 393
49 The term ritornello existed also in the i4th century to designate a portion of
madrigal or caccia. Don Harran, in "Verse Types in the Early Madrigal" (this
JOURNAL, XXII [19691), describes the ritornello madrigal (pp. 37-38), which adds tw
or four lines after its two or three tercets. On p. 40 (fn. 52) he quotes Trissino
(Arte poetica, I529), who refers to these added lines as "one or two ritornelli." Thu
like the i6th and i7th century dance ritornello, the term does not refer to the enti
section but to some smaller element that may occur more than once in immedia
succession. This suggests, of course, that the term may also refer in the 14th centur
to some feature of the preceding piece (music or text) that "returns" once or twice
This content downloaded from 193.147.185.45 on Fri, 16 Jun 2017 15:20:40 UTC
All use subject to http://about.jstor.org/terms
394 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
most of the period from around I500 to 1650. The special ostinato te
nique, however, lived on, after the style that gave it birth had disappeared
in the passacaglia and ciaccona variations by Bach and other composer
of the late Baroque period. The musical ancestors of such works are t
riprese and ritornelli in the Italian dance style of the I6th and I7th ce
turies.
This content downloaded from 193.147.185.45 on Fri, 16 Jun 2017 15:20:40 UTC
All use subject to http://about.jstor.org/terms