Ripieno concerto

The ripieno concerto is a late Baroque music genre. The word ripieno is from the Italian for "padding," referring to the string orchestra and any wind or chord-playing instrumentalists who played no solo parts but would accompany the soloists in concerti and concerti grossi . The concerto ripieno was sometimes referred to as a "concerto a quattro" (or "a cinque" if the orchestra included two viola parts, a standard scoring in the 17th century) and was a composition for the ripieno alone (i.e. for string orchestra and continuo), with either no solo parts or clearly subsidiary ones. Beginning with the six ripieno concertos, Op. 5 (1692), of Giuseppe Torelli, this genre enjoyed an efflorescence that extended until about 1740.

Most ripieno concertos fall into one of two distinct classes: a sonata type and a sinfonia type. The sonata type generally mirrors the form and style of the sonata da chiesa in its use of four-movement slow–fast–slow–fast cycles and predominantly fugal texture.

The more modern sinfonia type was firmly established in Torelli's second publication to include concertos, Op. 6 (1698), and in Giulio Taglietti's Concerti a Quattro, Op. 4 (1699), which turn to the three-movement (fast-slow-fast) pattern and more homophonic texture familiar to us from the solo concerto and opera sinfonia. The opening movements also parallel the solo concerto in utilizing ritornello form (without solo sections), in which the opening material recurs from one to several times in various keys, the last statement normally in the tonic. Finales are most often binary in form and dancelike in style. The sinfonia type gradually merged with the early concert symphony beginning in the 1720s, doubtless in part because the term concerto was by that time acquiring an indelible association with the notion of tutti-solo contrast.

لا تُعدّ كونشيرتو الأوركسترا في القرن العشرين كونشيرتو ريبينو بالمعنى الباروكي ، بل هي أقرب إلى مقطوعة استعراضية تُبرز فيها الأوركسترا نفسها براعتها ، حيث يتناوب العازفون المنفردون، وأجزاء الأوركسترا، والجوقات، وحتى المجموعة الكاملة على أداء الجزء المنفرد أو الأجزاء المنفردة. اشتهرت هذه المقطوعة بفضل عمل بارتوك الشهير عام 1943 ، ومن الأمثلة الأخرى أعمال هيندميث (1925)، ووالتر بيستون (1933)، وزولتان كودالي (1939-1940)، ومايكل تيبت (1962-1963)، وإليوت كارتر (1969). في المقطوعة الأخيرة، يُجسّد كارتر بشكلٍ درامي مجموعات الكونشيرتينو المختلفة، وهي تقنية سبق له استكشافها في كونشيرتو المزدوج للهاربسيكورد والبيانو (1961) وكونشيرتو البيانو (1964-1965).

• قاموس هارفارد الجديد للموسيقى