ritournelle

Tossing and turning, I lay till the small fowls brake forth with their songs, and my own thought seemed to come and go, and come again in my head, like the "ritournelle" of the birds.

A Monk of Fife Andrew Lang 1878

The stornello, or ritournelle, never exceeds three lines, and owes its name to the return which it makes at the end of the last line to the rhyme given by the emphatic word of the first.

Sketches and Studies in Italy and Greece, Complete Series I, II, and III John Addington Symonds 1866

The stornello, or ritournelle, never exceeds three lines, and owes its name to the return which it makes at the end of the last line to the rhyme given by the emphatic word of the first.

Sketches and Studies in Italy and Greece, Second Series John Addington Symonds 1866

She has one aria where something might be expected from the ritournelle; the voice part is, however, alla Schweitzer, as if dogs were yelping.

The Letters of Wolfgang Amadeus Mozart Mozart, Wolfgang A 1864

The aria had a second part, but Madame Mara did not think proper to inform the orchestra of the fact previously, but after the last ritournelle came down into the room with her usual air of effrontery to pay her respects to the nobility.

The Letters of Wolfgang Amadeus Mozart Mozart, Wolfgang A 1864

She has one aria where something might be expected from the ritournelle; the voice part is, however, alla Schweitzer, as if dogs were yelping.

The Letters of Wolfgang Amadeus Mozart — Volume 01 Wolfgang Amadeus Mozart 1773

The aria had a second part, but Madame Mara did not think proper to inform the orchestra of the fact previously, but after the last ritournelle came down into the room with her usual air of effrontery to pay her respects to the nobility.

The Letters of Wolfgang Amadeus Mozart — Volume 01 Wolfgang Amadeus Mozart 1773

I have therefore refrained from interrupting the actor in the fervor of his dialogue by introducing the accustomed tedious _ritournelle_; nor have I broken his phrase at an opportune vowel that the flexibility of his voice might be exhibited in a lengthy flourish; nor have I written phrases for the orchestra to afford the singer opportunity to take a long breath preparatory to the accepted flourish; nor have I dared to hurry over the second part of an aria, when such contained the passion and the most important matter, to find myself in accord with the conventional repeat of the same phrase four times.

A Popular History of the Art of Music From the Earliest Times Until the Present 1874

/ 2009: sebastien tellier - la ritournelle scribbled by

kameelahwrites 2009