Concertato vs. Ripieno — What's the Difference?

Used to highlight soloists within a larger ensemble.

Refers to the full ensemble part in a concerto.

A musical style featuring interplay between distinct voices or groups.

Integral to the structure of Baroque concertos.

Encourages dynamic contrast in compositions.

Supports and complements the soloist sections.

Can include improvisational elements by performers.

Provides a homogenous sound backdrop.

Often involves alternating between soloists and ensemble.

Usually strictly composed without improvisation.

Concertato is a term in early Baroque music referring to either a genre or a style of music in which groups of instruments or voices share a melody, usually in alternation, and almost always over a basso continuo. The term derives from Italian concerto which means "playing together"—hence concertato means "in the style of a concerto." In contemporary usage, the term is almost always used as an adjective, for example "three pieces from the set are in concertato style." A somewhat oversimplified, but useful distinction between concertato and concerto can be made: the concertato style involves contrast between opposing groups of voices and groups of instruments: the concerto style, especially as it developed into the concerto grosso later in the Baroque, involves contrast between large and small groups of similar composition (later called "ripieno" and "concertino").

The ripieno (Italian pronunciation: [riˈpjɛːno], Italian for "stuffing" or "padding") is the bulk of instrumental parts of a musical ensemble who do not play as soloists, especially in Baroque music. These are the players who would play in sections marked tutti, as opposed to soloist sections.

(music) An early Baroque genre or style of music in which groups of instruments or voices share a melody, usually in alternation, and almost always over a basso continuo.

(music) The part of a concerto grosso in which the ensemble plays together; contrasted with the concertino.

A piece of music in this style.

Filling up; supplementary; supernumerary; - a term applied to those instruments which only swell the mass or tutti of an orchestra, but are not obbligato.

Typically, ripieno sections do not include solos; they focus on ensemble playing.

Ripieno provides a stable, uniform background that supports and complements the soloists.

It adds expressiveness and variety by featuring solo talents and contrasting them with ensemble sounds.

Concertato focuses on contrasting solos with ensemble parts, whereas ripieno involves the full ensemble playing together.

Yes, improvisation is often encouraged in concertato sections to showcase individual artistry.

Typically, yes, the ripieno is performed by the larger part of the ensemble or the entire orchestra.

Concertato is primarily used in Baroque and Renaissance music to highlight dynamic interactions between soloists and ensembles.

Yes, the concertato style can be adapted for modern music, especially in works that feature varied instrumentation and dynamic contrasts.

The dynamic range in ripieno sections is generally more controlled and uniform to maintain cohesion and support the overall structure of the piece.

No, ripieno parts are generally straightforward and less complex than concertato sections, focusing on ensemble cohesion.

Concertato adds textural complexity by alternating between solo and ensemble sections.

Ripieno sections provide emotional grounding and contrast, enhancing the impact of the solo sections.

Musicians need versatility, expressive ability, and sometimes improvisational skills to excel in concertato style performances.

While not always necessary, a conductor can help manage the complex interactions between soloists and the ensemble in concertato sections.

Soloists in a concerto grosso contrast with the ripieno by playing intricate or expressive parts against the stable backdrop of the ensemble.