Grove's dictionary of music and musicians

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EITTER RITTER 109
in 1609, and republished in 1615. In this work,
the Overtui-e—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 SevemteerUh Century
(Oxford Hist, of Music, vol. iii.), p. 51.]
2., 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 CavaUi's ' II 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 'Kitornel.,' '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.'
In 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.
II. 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 Abrazzi and other mountain
regions of Italy. w. s. K.
RITTER, FRtoERicLouis, bomat 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 Sohletterer, 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 forthe 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 Fenestrange, and invited to conduct a Soci^t^
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 f^tival 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 Sngland
appeared in New York in 1883, and Music in
America in the same year.
The following works have appeared in the
catalogues of Hamburg, Leipzig, Mainz, and
New York publishers :
Op. 1. ' Hafifi,' cyclus of Persiao Op. 10. Five songs. Ten Irish
Melodies wil^ new PF.
2. Freambule Scherzo, PF.
acct.
3. Ten children's songs.
11. Organ fantasia and fugue.
4. Faii7 Love.
12. Voices of the Night, PF.
5. Eight PF. pieces. O Salutaris,' baritone, organ.
6. Six songs.
Ave Maria,' mezzo-sopr., ot^an.
7. Five choruses, male voices. ' Parting,' song, mezzo-soprano.
8. Psalm xxiii female voices. A practical Method for the Instruction
of Chorus-classes.
The following are his most important unpublished
compositions :
3 Symphonies—A, Eminor, Eb. One string quartet; three PF.
Stella,' Poime -symphonique, Do.
d'apria V. Hugo.
Overture, ' Othello.'
Concerto, PF. and orch.
Psalm iv. baritone solo, chorus,
and orchestra.
Psalm xlvi., solo, chor. and orch.
Do. violoncello and orch. Psalm xcv. female voices vnth
Fantasia, bass clarinet and orch. organ.
Dr. Ritter's wife, n^e 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 cm
Music, to a Lady; and of Schumann's Essays
and Criticisms—in two series, as Music and
Musicans ; and a pamphlet entitled Woman
as a Musician — all published by Reeves,
London. f. h. j.
RITTER, 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 la,tter
half of the 19th century by his performances