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Johann Stamitz’s solo concertos, which make up a considerable proportion of his surviving compositions, are often overlooked and generally regarded as conservative. A more careful review, however, reveals that characteristics of the concertos – similar to Stamitz’s symphonies – can be traced back to the specific conditions at the Palatine court and its remarkable orchestral customs. Eighteenth-century music literature references these works’ innovative nature and their reception as prototypes of the “German style.” Formal modifications and the integration of a binary layout in the compositional structure clearly place Stamitz’s concertos in close proximity to his symphonies.

Johann Stamitz’s solo concertos, which make up a considerable proportion of his surviving compositions, are often overlooked and generally regarded as conservative. A more careful review, however, reveals that characteristics of the concertos – similar to Stamitz’s symphonies – can be traced back to the specific conditions at the Palatine court and its remarkable orchestral customs. Eighteenth-century music literature references these works’ innovative nature and their reception as prototypes of the “German style.” Formal modifications and the integration of a binary layout in the compositional structure clearly place Stamitz’s concertos in close proximity to his symphonies.

J. G. Graun, appointed by the Prussian King Frederick II in 1740 to the position of concertmaster, composed a large number of instrumental works, including forty-eight violin concertos. Among those composed before 1730, influences from prominent composers, such as Vivaldi, Tartini, and Telemann, whose works Graun would have known from the court repertoire in Dresden, are clearly evident. The development of Graun’s concerto style, which soon diverged from these models, was largely determined by their three-part ritornello form and melodic arias influenced by Neapolitan opera-a compositional design, in its refined and perfected form, which would become the prototype for solo instrumental concertos in Berlin, represented by the works of F. Benda and C. P. E. Bach.

J. G. Graun, appointed by the Prussian King Frederick II in 1740 to the position of concertmaster, composed a large number of instrumental works, including forty-eight violin concertos. Among those composed before 1730, influences from prominent composers, such as Vivaldi, Tartini, and Telemann, whose works Graun would have known from the court repertoire in Dresden, are clearly evident. The development of Graun’s concerto style, which soon diverged from these models, was largely determined by their three-part ritornello form and melodic arias influenced by Neapolitan opera-a compositional design, in its refined and perfected form, which would become the prototype for solo instrumental concertos in Berlin, represented by the works of F. Benda and C. P. E. Bach.

Johann Stamitz's solo concertos, which make up a considerable proportion of his surviving compositions, are often overlooked and generally regarded as conservative. A more careful review, however, reveals that characteristics of the concertos-similar to Stamitz's symphonies-can be traced back to the specific conditions at the Palatine court and its remarkable orchestral customs. Eighteenth-century music literature references these works' innovative nature and their reception as prototypes of the \"German style.\" Formal modifications and the integration of a binary layout in the compositional structure clearly place Stamitz's concertos in close proximity to his symphonies. Die zeitgenössische Wertschätzung von Stamitz' Konzerten, die „beynahe als das nec plus ultra der Schwierigkeiten auf der Violin\" galten8, stützt diese Prämisse: „wer bewundert nicht seine Composition, zumal die Hauptstimme in seinen Concerten? kann wohl eine brillantere und edlere Melodie, die stets neu ist, gedacht werden?\"9 Die vorliegende Studie stellt daher den Versuch dar, durch detaillierte Betrachtung der Stamitz'schen Konzerte ein differenzierteres Bild dieses vernachlässigten Repertoires zu zeichnen und so zu einem präziseren Verständnis des Komponisten und seines Wirkens beizutragen. Im Fall des Flötenkonzertes KatGro 230 ist dieser sogar auf drei Stimmen reduziert, wobei die Auslassung der Viola bemerkenswert gut zur Besetzung des Jahres 1743 passt.

This article argues for an ethico-aesthetic approach to parenting as an alternative to the neoliberalisation of parenting, and its critiques. This ethico-aesthetic approach focuses on affect and the intensification of collective life. In the article, it is explored in connection to a group of parents and children under six who participated in a play event called Moving with lines and light. As parents, researchers and players who participated in this play event, the authors think together with fragments of GoPro data and the concept of the ritornello. They do this as an exercise in sensing the non-linear time of parenting in/with the play through a prolonged, active and relational process of recollection and narration that combines analogic and technologic events. With these, the authors discuss the parenting body in postdevelopmental modes of existence organized around sense, territory and technicity that propel a thinking of parenting beyond practices of symbolic control, and as living ecologies of action.

The concepts of territory and ritornello cannot be separated from one another, despite the fact that scholarship tends to restrict the former to discussions of politics and the latter to discussions of art. Deleuze and Guattari deploy the combination of territory and ritornello, along with associated notions such as rhythm, milieu, counterpoint and force, as a method to describe and understand the formation, existence and relations of living beings. They understand 'life' to also include a variety of nonorganic entities, such as social formations. Territory and ritornello provide a philosophical alternative to understanding the existence of beings in terms of an immutable, unchanging transcendent structure, such as divine revelation, politico-economic ideology or cultural identity. As such, this conceptual pair is a necessary element in translating Deleuze and Guattari's metaphysical commitment to immanence and univocity into ethical and political theory and practice.

El segundo par de estrofas del Estásimo cuarto en Edipo Rey presenta un esquema métrico de cinco elementos que funciona como ritornelo cerrando todos los κῶλα. Se compone de cinco elementos monosilábicos (- ⏑ - ⏑ -) y forma parte de colos yámbicos en las tres primeras líneas, cierra un docmio más yambo en la cuarta, y se muestra como κῶλον completo en las tres líneas centrales, donde el mensaje del coro alcanza su clímax. Va creciendo después por el comienzo en las cuatro líneas restantes, mostrando un docmio kaibeliano y luego κῶλα yambo-coriámbicos. Sófocles ha aquilatado en un esquema pentasílabo el horror del Coro ante Edipo, un ritornelo que reaparece en todos los colos y que sintetiza el mensaje en el centro de cada canción: el incesto / el rechazo del coro.