"The Victorious Ride of Prince Uberti"

GENERAL INFORMATION
Title	The Victorious Ride of Prince Uberti
Composer	F.G.J. Absil
Instrum.	Symphony Orchestra
Date	2016
Duration	7'35
Style	Epic Orchestral
Key	Modal, tonal
Meter	4/4, 3/4
Measures	216
Tempo	Various (118 - 112 - 120 - 96 BPM)

FULL INSTRUMENTATION

• Piccolo, Flute 1-2, Oboe 1-2, Clarinet 1-2, Bass Clarinet, Bassoon 1-2;
• Horns in F 1-2-3, Trombone 1-2-3, Bass Tuba;
• Celesta, Glockenspiel, Harp, Vibraphone, Orchestral Percussion (6 players: Bar Chimes Bass Drum, Pair of Cymbals, Snare Drum, Suspended Cymbal, Tambourine, Tamtam, Timpani, Triangle);
• String section: Violin 1, Violin 2, Viola, Cello, Contrabass.

NOTES FOR THE PERFORMER

The epic orchestral composition 'The Victorious Ride of Prince Uberti' has rondo form (ABACA). There are three main elements and themes:

1. A-Sections: 3-part chords in 4ths (staccato ostinato driving rhythm) with a marcato theme M₁ in ascending leaps and steps. Chord roots based on symmetric division of the octave.
2. B-Section: theme M₂ with descending third leaps, used unisono and in parallel imperfect consonants (thirds and sixths). Tonal harmony. The theme is used in diminution as a countersubject in the other sections.
3. C-Section: melancholic theme M₃ with stepwise motion in 3/4 metre. Tonal harmony and counterpoint settings.

Here's the structural breakdown of the piece:

• A₁, m. 1-40, Allegro marcato 118 BPM, 4/4 metre. Subdivision: a (m. 1-20) opening and 1st statement of the theme M₁ in lower strings, brass and woodwind; b (m. 21-24) transition; a' (m. 25-32) 2nd theme statement with development character; c (m. 33-40) closing section.
• B, m. 1-40, Allegretto dolce 112 BPM. Subdivision: a₁ (m. 41-69) 1st statement of descending 3rd leaps theme M₂ (trumpets and clarinets); a₂ (m. 50-58) 2nd statement in woodwinds; b (m. 59-69) combination of M₁ and M₂.
• A₂, m. 70-89, Allegro marcato 120 BPM. Subdivision: a (m. 70-81) combination and development of M₁ (oboe, clarinet, trumpet) and M₂ as countersubject (high woodwinds); b (m. 82-89) closing section, with M₂ in augmentation.
• C, m. 90-156, Moderato tranquilo e rubato 96 BPM, 3/4 metre. Subdivision: a (m. 90-97) 1st statement of M₃ (clarinet) with same theme in diminution as countersubject; b (m. 98-103) transition with lead violins; c (m. 104-121) development of M₃ (violins and flute); c (m. 122-134) counterpoint setting; d (m. 135-151) return to 4/4 metre and combination of M₂ and M₃ in counterpoint setting; d (m. 151-156) closing section with M₂ in augmentation and imitation.
• A₃, m. 157-216, Allegro marcato 120 BPM. Subdivision: a₁ (m. 157-168) return of original mood and theme M₁ (oboe, clarinet) in combination with diminished version of M₂ as countermotif (high woodwinds, xylophone); b (m. 169-172) transition; c (m. 173-180) closing section with M₁ theme answered in melodic inversion; d (m. 181-189) bridge with M₁ motif statements (wake-up calls) and M₃ as 16th notes ostinato pattern; a₂ (m. 190-207) combination of all three themes, building up to orchestral tutti climax; c (m. 208-216) closing climax.

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