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"The Victorious Ride of Prince Uberti"

Title The Victorious Ride of Prince Uberti
ComposerF.G.J. Absil
Instrum.Symphony Orchestra
StyleEpic Orchestral
KeyModal, tonal
Meter4/4, 3/4
TempoVarious (118 - 112 - 120 - 96 BPM)


A musical score excerpt
  • 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.


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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