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The earliest known solo concerti [citation needed] are nos. 6 and 12 of Giuseppe Torelli's Op. 6 of 1698. These works employ both a three-movement cycle and clear (if diminutive) ritornello form, like that of the ripieno concerto except that sections for the soloist and continuo separate the orchestral ritornellos.
Giuseppe Torelli wrote many violin concertos in which the fast movements used a recurring ritornello in between two extended solo passages of entirely new material. [5] This form was standardized by Antonio Vivaldi, who wrote hundreds of concertos using a modification of Torelli's scheme. Vivaldi's ritornello form established a set of ...
Typically during the classical period, a solo cadenza in a concerto would end with a trill, usually on the supertonic, preceding the re-entry of the orchestra for the movement's coda. Extended cadential trills were frequent in Mozart 's piano concerti ; they may also be found in violin concerti and concerti for stringed instruments of the ...
A typical concerto movement in this Italian style of solo concerto (as opposed to concerto formats not centred around one or more soloists such as the ripieno concerto) opened with a ritornello, followed by a solo passage called episode, after which a tutti brings back (a variant of) the ritornello, followed by further alternating solo and ...
It has been favourably compared to Chopin's piano concertos. [5] [6] The opening movement begins dramatically, with the piano entering in a virtuosic manner. The first movement segues into the second, called a "Romance" written for piano and cello, without orchestra. It begins with an extended solo piano passage, then the solo cello enters.
The strings provide a simple accompaniment to the long phrases of the extended harpsichord solo; between phrases the first violin plays a brief reprise in C ♯ minor of the opening semiquaver motif of the ritornello. The episode culminates in a semiquaver passage over an extended G ♯ pedal point and an Adagio cadence and fermata in C ♯ minor.
Then a cello plays the theme while the piano answers hurriedly with a developmental recitative section. This leads into a passage where solos in the woodwind section play a new theme while the piano plays long trills in the right hand and spread chords in the left. The passage is ended by the piano and clarinet in duet.
This is a list of musical compositions that employ extended techniques to obtain unusual sounds or instrumental timbres. Hector Berlioz "Dream of Witches' Sabbath" from Symphonie Fantastique. The violins and violas play col legno, striking the wood of their bows on the strings (Berlioz 1899, 220–22). Heinrich Ignaz Franz von Biber; Battalia ...