Obbligato Instrument

In Western classical music, ''obbligato'' (, also spelled ''obligato'') usually describes a musical line that is in some way indispensable in performance. Its opposite is the marking ''ad libitum''. It can also be used, more specifically, to indicate that a passage of music was to be played exactly as written, or only by the specified instrument, without changes or omissions. The word is borrowed from Italian (an adjective meaning ''mandatory''; from Latin ''obligatus'' p.p. of '' obligare'', to oblige); the spelling ''obligato'' is not acceptable in British English, but it is often used as an alternative spelling in the US. The word can stand on its own, in English, as a noun, or appear as a modifier in a noun phrase (e.g. ''organ obbligato'').

The term has also come to refer to a countermelody.

Independence

''Obbligato'' includes the idea of independence, as in C. P. E. Bach's 1780 Symphonies (with twelve ''obbligato'' parts) by which Bach was referring to the independent woodwind parts he was using for the first time. These parts were also ''obbligato'' in the sense of being indispensable.

Continuo

In connection with a keyboard part in the baroque period, ''obbligato'' has a very specific meaning: it describes a functional change from a ''basso continuo'' part (in which the player decided how to fill in the harmonies unobtrusively) to a fully written part of equal importance to the main melody part.

Contradictory usage

A later use has the contradictory meaning of ''optional'', indicating that a part was not obligatory. A difficult passage in a concerto might be furnished by the editor with an easier alternative called the ''obbligato'' (but more commonly and correctly termed an ''ossia''); or a work may have a part for one or more solo instruments, marked ''obbligato'', that is decorative rather than essential; the piece is complete and can be performed without the added part."Obbligato" in ''Collins Music Encyclopedia'', Westrup & Harrison: Collins, London, 1959 The traditional term for such a part is ''ad libitum'', or ''ad lib.'', or simply ''optional'', since ''ad lib.'' may have a wide variety of interpretations.

Contemporary usage

In classical music the term has fallen out of use by modern-day practitioners, as composers, performers and audiences alike have come to see the musical text as paramount in decisions of musical execution. As a result, everything is now seen as ''obbligato'' unless explicitly specified otherwise in the score. It is still used to denote an orchestral piece with an instrumental solo part that stands out, but is not as prominent as in a solo concerto, as in Bloch's Concerto Grosso mentioned below. The term is now used mainly to discuss music of the past. One contemporary usage, however, is that by Erik Satie in the conclusion of the final movement, "III de Podophthalma," of ''Embryons desséchés'' (''Desiccated Embryos''), where an ''obbligato''—styled ''Cadence obligée (de l'Auteur)''—consists of (depending upon how one counts) thirty F-major chords played ''fortissimo'', satirising Beethoven's symphonic style.

Examples

Explicit instances

* J. S. Bach used ''organ obbligato'' to show at a glance the importance of the organ part (in for example cantata ''Wer sich selbst erhöhet, der soll erniedriget werden, BWV 47'' and cantata ''Gott ist mein König, BWV 71'').
*Mozart marks "cello obligato" in ''Don Giovanni'' in Zerlina's aria "".
*Beethoven's duo for viola and cello, WoO 32, is subtitled (with two airs ofobbligato eyeglasses) which seems to refer to the necessity, at the first performance, of spectacles for both Beethoven and his cellist.
*Niels Gade's Fifth Symphony (1852) contains an obbligato piano part.
*Camille Saint-Saëns's famous symphonic poem ''Danse Macabre'' features an ''obbligato'' violin.
*Heinrich Schütz's "" in , 1629 for soprano, tenor, bass and continuo with ''obbligato'' ''cornetto, o violino''.
*John Philip Sousa's march "The Stars and Stripes Forever" contains a ''piccolo obbligato'' in its ''grandioso''.
*Ernest Bloch's 1925 Concerto Grosso No. 1 for string orchestra with piano obbligato is a neoclassical composition with 20th-century modal harmonies.
*John Cage's ''Solo with Obbligato Accompaniment of Two Voices in Canon, and Six Short Inventions on the Subject of the Solo'' (1934, 1958)
*Malcolm Arnold's ''A Grand, Grand Overture'', Op. 57 (1956) is a 20th-century parody of the late 19th century concert overture, and contains ''obbligato'' parts for four rifles, three Hoover vacuum cleaners (two uprights in B, one horizontal with detachable sucker in C), and an electric floor polisher in E
*Benjamin Britten's 1958 ''Nocturne'' for tenor, 7 obligato instruments & strings in which the tenor soloist is accompanied by one or more ''obbligato'' instruments in each of the eight movements (apart from the first)
*Hector Berlioz's ''Harold en Italie'' contains an extensive part for viola obbligato

Implicit instances

*Trumpet ''obbligato'' in J. S. Bach's cantata ''Jauchzet Gott in allen Landen, BWV 51''
*A horn ''obbligato'' during Sifare's aria, , in W. A. Mozart's opera ''Mitridate, re di Ponto'' (1770)
*In Mozart's ''Die Entführung aus dem Serail'' (1782) there are ''obbligati'' for flute, oboe, violin and cello.
*In Mozart's ''La clemenza di Tito'' (1791) there are two arias with ''obbligato'' clarinet; basset clarinet ''obbligato'' "" (sung by Sesto) and Basset horn obbligato "" (sung by Vitellia).
*Piano obbligato in Mozart's concert aria " Ch'io mi scordi di te? ... Non temer, amato bene" (K. 505)
*Piano obbligato in Rued Langgaard's Third Symphony, "The Flush of Youth – La Melodia"
*Horn obbligato aria "Abscheulicher!/Komm Hoffnung" in Beethoven's opera ''Fidelio''
*Bassoon obbligato in the "Quid sum miser" of Verdi's Requiem.
*An especially ornate violin obbligato appears in the Benedictus of Ludwig van Beethoven's Missa solemnis
*''Corno'' (horn) obbligato in Gustav Mahler's Symphony No. 5
*Prominent obbligato writing for flute in particular is not unusual in Romantic opera, for example in the cadenza of the traditional version of the Mad Scene in ''Lucia di Lammermoor'' (1835)
*Bass clarinet obbligato in the third movement of Morton Gould's ''Latin American Symphonette''
*Clarinet ''obbligato'' in Porter Steele's "High Society" (1901), added by Alphonse Picou
*Piano obbligato in the third movement of Frederik Magle's symphonic suite ''Cantabile'' (2009)

References

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Accompaniment
Musical terminology