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Scan 117
Grove's dictionary of music and musicians;, 1904
53 lines. Read by computer on 10 September 2026, twice; the two readings disagreed in places. Printed page 109. See the scan on archive.org.
1RITTER
3in 1609, and republished in 1615. In this work, the Overture—there called Toccata—is followed by a 'Ritornello' in five parts, the rhythmic form of which is immeasurably in advance of the age in which it was produced. [Both toccata and ritornello are printed in the Musical Times for 1880, in an essay on Monteverde; and the toccata is given in Parry's Seventeenth Century (Oxford Hist. of Music, vol. iii.), p. 51.]
52. When vocal music with instrumental accompaniment became more extensively cultivated, the word was brought into common use, in its second sense, as applied to the instrumental symphonies of a song, or other composition for a solo voice. Ritornelli of this kind were freely used by Cavalli, Cesti, Carissimi, and many other composers of the early Venetian dramatic school, who imitated their manner. An example from Cavalli's 'Il Giasone' will be found at vol. iii. p. 440. Towards the close of the 17th century such instrumental interpolations became very common, in all styles and countries. For instance, in early editions of the Verse Anthems, of Croft, Greene, and other English composers, of the 17th and 18th centuries, we constantly find the words 'Ritornel.,' 'Ritor.,' or 'Rit.,' printed over little interludes, which, unknown in the more severe kind of ecclesiastical music, formed a marked feature in works of this particular school, frequently embodying some of its choicest scraps of melody, as in Dr. Boyce's Anthem, 'The Heavens declare the glory of God.'
7In later editions the term disappears, its place being supplied, in the same passages, by the words 'Organ,' or 'Sym.'; which last abbreviation is almost invariably found in old copies of Handel's songs, and other similar music, in which the symphonies are interpolated, as often as opportunity permits, upon the line allotted to the voice.
9II. An ancient form of Italian verse, in which each Strophe consists of three lines, the first and third of which rhyme with each other, after the manner of the Terza rima of Dante. Little Folk-Songs of this character are still popular, under the name of 'Ritornelli' or 'Stornelli,' among the peasants of the Abruzzi and other mountain regions of Italy.
11W. S. R.
13RITTER, FRÉDÉRIC LOUIS, born at Strasburg, June 22, 1834. His paternal ancestors were Spanish, and the family name was originally Caballero. His musical studies were begun at an early age under Hauser and Schletterer, and continued at Paris (whither he was sent when sixteen years of age) under the supervision of his cousin, Georges Kastner. Possessed with the idea that beyond the Rhine he would find better opportunities for the study of composition, he ran away to Germany, where he remained for two years, assiduously pursuing his studies with eminent musicians, and attending concerts whenever good music could be heard. Returning to Lorraine, aged eighteen, he was nominated professor of music in the Protestant seminary of Fénéstrange, and invited to conduct a Société de Concerts at Bordeaux. The representations made by some of his family who had settled in America induced him to visit the New World. He spent a few years in Cincinnati, where his enthusiasm worked wonders in the development of taste. The Cecilia (choral) and Philharmonic (orchestral) Societies were established by him, and a large number of important works presented at their concerts for the first time in the United States. In 1861 Ritter went to New York, becoming conductor of the Sacred Harmonic Society for seven years, and of the Arion Choral Society (male voices), and instituting (1867) the first musical festival held in that city. In 1867 he was appointed director of the musical department of Vassar College, Poughkeepsie, whither he removed in 1874 on resigning his conductorships. The University of New York conferred on him the degree of Doctor of Music in 1878. He died at Antwerp, July 22, 1891. Ritter's literary labours have included articles on musical topics printed in French, German, and American periodicals. His most important work is A History of Music, in the Form of Lectures—vol. i. 1870; vol. ii. 1874, Boston; both republished by W. Reeves, London, 1876. Music in England appeared in New York in 1883, and Music in America in the same year.
15The following works have appeared in the catalogues of Hamburg, Leipzig, Mainz, and New York publishers:—
17Op. 1. 'Haïfs,' cyclus of Persian songs.
182. 'Preambule Scherzo,' PF.
193. Ten children's songs.
204. Fairy Love.
215. Eight PF. pieces.
226. Six songs.
237. Five choruses, male voices.
248. Psalm xxiii. female voices.
26Op. 10. Five songs. Ten Irish Melodies with new PF. acc. one of two readings
27Op. 10. Five songs. Ten Irish Melodies with new PF. acct. one of two readings
2811. Organ fantasia and fugue.
2912. Voices of the Night, PF.
30'O Salutaris,' baritone, organ.
31'Ave Maria,' mezzo-sopr., organ.
32'Parting,' song, mezzo-soprano.
33A practical Method for the Instruction of Chorus-classes.
35The following are his most important unpublished compositions:—
373 Symphonies—A. E minor, Bb. 'Stella,' Poème symphonique, d'après V. Hugo.
38Overture, 'Othello.'
39Concerto, PF. and orch.
40Do. violoncello and orch.
41Fantasia, bass clarinet and orch.
43One string quartet; three PF. Do.
44Psalm iv. baritone solo, chorus, and orchestra.
45Psalm xlvii., solo, chor. and orch.
46Psalm xcv. female voices with organ.
48Dr. Ritter's wife, née Raymond, is known under the name of FANNY RAYMOND RITTER: (born at Philadelphia in 1840), as an author and translator of works on musical subjects. She brought out translations of Ehlert's Letters on Music, to a Lady; and of Schumann's Essays and Criticisms—in two series, as Music and Musicians; and a pamphlet entitled Woman as a Musician—all published by Reeves, London.
50F. H. J.
52RITTER, HERMANN, son of a German government official, was born at Wismar, Mecklenburg, Sept. 26, 1849. A gifted writer and able violinist and musician, he attracted considerable public interest in Germany during the latter half of the 19th century by his performances.
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