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 b c Solo 1 c Solo 2

Solo 3 Solo 4 b c
Brandenburg Concerto No. 5, I

• Solo instruments: Flute,Violin, Harpsichord

• Large-scale Ritornello form with extended cadenza

for harpsichord.
 1 9 19 20 29 31 40 42 59 61

R1 R2 R3 R4 R5
123 1 2 2 2
I V V vi I

71

Central Solo
iii

101 102 121 125 137 138 154

R6 R7 R8 Cadenza
1 12 2
V I I V-I

219

R9
123
I
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

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

P T 1S K P T 2S K
I I I I V
Development

Recapitulation

P T 1S 2S Cadenza K

I
 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

Exposition #1 Exposition #2

1P 1T 1S K 1P 1T Tran 2S 2T(1P) 3S 3T
1 13 18 30 34 46 74 51 58 73 81

I I I V
R1 S1 R2 S2 R3 S3

Development

1P 4S N 1S Cadenza (Retransition)
94 113 121 139 152

V
R4 S4

Recapitulation

1P 1T 2S 2T(1P) 3S 2S 1P
153 165 170 181 196 200 217

I v I I
R5 S5 R6 S6 R7
 Piano Concerto K. 476

• Mozart’s Treatment of Double-Exposition Sonata

Form
Exposition #1 Exposition #2

1P T 1S 1P 1K 2K(1P) Tran 1P ~2P N 2S 1P 1K Tran

1 12 28 36 52 64 74 80 91 109 128 194 205 216

I I I I v V
R1 S1 R2 S2 R3

Development
223

S3

Recapitulation

1P T 2S 1S 1S 2K(1P) Cadenza T 2K(1P)

274 297 313 351 355 384 396 397 409

I IV I I
R4 S4 R5 S5 R6 S6 R7