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Scan 116
Grove's dictionary of music and musicians;, 1904
22 lines. Read by computer on 10 September 2026. Printed page 108. See the scan on archive.org.
1became very popular by a piece called 'The Battle of Leipzig,' for PF. solo, which was republished over half Germany, and had a prodigious sale.
3RIPIENO, 'supplementary.' The name given in the orchestral concertos of the 17th and 18th centuries, to the accompanying instruments which were only employed to fill in the harmonies and to support the solo or 'concertante' parts. [See CONCERTANTE, and CONCERTINO, vol. i. pp. 576-7.]
5RIPPON, JOHN, born at Tiverton, April 29, 1751. Died in London, Dec. 17, 1836 (Brit. Mus. Biog.). He was a doctor of divinity, and had a meeting-house for a number of years in Carter Lane, Tooley Street. His 'Selection of Psalm and Hymn Tunes,' from the best authors in three and five parts (1795) was a tune-book in much request for congregational singing, and ran through a large number of editions. In its compilation and arrangement he was assisted by T. Walker. Rippon was composer of an oratorio 'The Crucifixion,' published in 1837.
7RISELEY, GEORGE, born at Bristol, August 28, 1845, was elected chorister of Bristol Cathedral in 1852, and in Jan. 1862 articled to Mr. John Davis Corfe, the Cathedral organist, for instruction in the organ, pianoforte, harmony, and counterpoint. During the next ten years he was organist at various churches in Bristol and Clifton, at the same time acting as deputy at the Cathedral. In 1870 he was appointed organist to the Colston Hall, Bristol, where he started weekly recitals of classical and popular music, and in 1876 succeeded Corfe as organist to the Cathedral. In 1877 he started his orchestral concerts, which have won for him a well-deserved reputation. Notwithstanding considerable opposition, and no small pecuniary risk, he has continued, during each season, to give fortnightly concerts, at which the principal works of the classical masters have been well performed, and a large number of interesting novelties by modern writers, both English and foreign, produced. [In 1878 he was appointed conductor of the Bristol Orpheus Society, and has enlarged its scope and greatly increased its reputation. He is conductor of the Bristol Society of Instrumentalists, and was the founder of the Bristol Choral Society in 1889. He retired with a pension from the cathedral appointment in 1898, and was appointed conductor of the Alexandra Palace, and of the Queen's Hall Choral Society. In 1896 he conducted his first Bristol Festival, with great success. His compositions include a Jubilee Ode (1887), part-songs, etc. See an interesting article on him in Musical Times, 1899, p. 81 ff.]
9RISLER, JOSEPH EDOUARD, born at Baden, Feb. 23, 1873, studied at the Paris Conservatoire, where he gained, among other distinctions, first medals in solfège and elementary piano in 1887, a first piano prize (in Diémer's class) in 1889, a second harmony prize in 1892, and the first prize for accompaniment in 1897. On leaving the Conservatoire, Risler made further studies with Dimmler, Stavenhagen, D'Albert, and Klindworth. In 1896 and 1897 he was one of the 'Assistenten auf der Bühne' at Bayreuth, and took part as 'répétiteur,' in preparing the 'Meistersinger' for the Paris Opéra. In 1906 he was appointed a member of the Conseil supérieur of the Paris Conservatoire. Risler has given many pianoforte recitals in France, Germany, Holland, Russia, Spain, etc. His first appearance in England took place at Prince's Hall, May 17, 1894, when he played two sonatas of Beethoven, a master for whom he has a special predilection. His playing was then found to be singularly free from affectation, although in his later years he has yielded to certain mannerisms which detract from the artistic beauty of his earlier performances. His technique is very remarkable. He played the thirty-two sonatas of Beethoven in London in 1906. He has written a concert-transcription of Strauss's 'Till Eulenspiegel,' etc. [See PROPOSTA.]
11RISPOSTA (Lat. Comes; Eng. 'Answer'). The Answer to the subject of a Fugue, or point of imitation. [See PROPOSTA.]
13In Real Fugue, the answer imitates the subject, interval for interval. In Tonal Fugue, the Tonic is always answered by the Dominant, and vice versa. In both, the imitation is usually conducted, either in the fifth above the Proposta, or the fourth below it, when the subject begins upon the Tonic; and, in the fourth above, or the fifth below, when it begins upon the Dominant. [See FUGUE, SUBJECT.]
15RITARDANDO; RITENENTE; RITENUTO. [See RALLENTANDO.]
17RITORNELLO (Abbrev. Ritornel., Ritor.; Fr. Ritournelle). I. An Italian word, literally signifying a little return or repetition; but more frequently applied, in a conventional sense, (1) to a short instrumental melody played between the scenes of an opera, or even during the action, either for the purpose of enforcing some particular dramatic effect or of amusing the audience during the time occupied in the preparation of some elaborate 'set-scene'; or, (2) to the symphonies introduced between the vocal phrases of a song or anthem.
191. The earliest known use of the term, in its first sense, is to be found in Peri's 'Euridice,' in connection with a melody for three flutes, which, though called a 'Zinfonia' on its first appearance, is afterwards repeated under the title of 'Ritornello.' 'Euridice' was first printed at Florence in 1600, and at Venice in 1608.
21A similar use of the term occurs soon afterwards in Monteverde's 'Orfeo,' printed at Venice
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