Ripieno: A term used in Baroque music referring to the full orchestra or ensemble, as opposed to the soloists in a concerto grosso.

Context and Significance

Ripieno plays a crucial role in the texture and dynamics of Baroque music. It represents the larger group within a concerto grosso, providing a fuller sound that contrasts with the concertino, or soloists. This dynamic interaction between the ripieno and concertino creates a rich, layered soundscape that is central to the Baroque style, enhancing the expressive potential of the music. Ripieno sections are often utilized in larger orchestral works and provide the backbone of the ensemble sound.

Historical Background

The term “ripieno” is derived from the Italian word for “filling” or “stuffing,” reflecting its function in complementing the soloists in Baroque orchestral compositions. Originating in the early 17th century, this technique was popularized by composers like Arcangelo Corelli and Antonio Vivaldi. The ripieno group provided a contrast to the smaller concertino, allowing for a dynamic interplay that became a hallmark of the concerto grosso form during the Baroque period.

Examples

In Vivaldi’s “Concerto for Strings in G Major,” the ripieno sections provide robust and energetic passages that contrast with the intricate lines of the concertino. Similarly, in Corelli’s “Concerto Grosso in D Major, Op. 6, No. 4,” the ripieno enhances the harmonic richness, supporting the lively dialogue between the soloists. These compositions showcase the effective use of ripieno in creating dynamic shifts and textural depth.

Related Terms

Concertino: The group of soloists in a concerto grosso.

Tutti: A section where the full ensemble plays together.

Concerto Grosso: A musical form featuring a small group of solo instruments contrasted with a full orchestra.

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