Alcobaca Suite for Five Unaccompanied Timpani “After this great and prosperous event..A black and lamentable accident... Was ona miserable Lady seen, Who, after she was dead, was made a Queen.” Luis de Camoes, The Lusiads, I, 118 trans. Richard Fanshawe The inspiration for this piece comes from a tragic love tale dating back to fourteenth- century Portugal. Dom Pedro, son of Alfonso IV and heir to the throne, wed the Infanta Constanza of Aragon in 1340 in a politically-arranged marriage. Dom Pedro, however, was taken with Inés de Castro, one of the Infanta’s ladies-in-waiting. The relationship of Pedro and Ines grew as they became lovers, parents, and soul mates. The scandal at the court proved to be too much so the King had Inés banished to Spain. Dom Pedro persisted and had Inés and their children installed in the convent of Santa Clara some fifty miles from Alcobaga. For some ten years, Pedro and Inés maintained their relationship. Alfonso, torn between Pedro's happiness and political pressure, finally yielded to his advisors and allowed Inés and her children to be brutally murdered on January 7, 1355. Dom Pedro's grief was immeasurable. He swore revenge and led a bloody rebellion against his father but was unable to gain victory nor revenge. Dom Pedro yielded, having to accept the pardon of the three assassins as a condition of the surrender, Alfonso died soon after, and the prince ascended to the throne as Pedro I. He had the three assassins extradited and was finally able to have his revenge: the last thing the assassins would see before they died was the beating of their own hearts. Still yearning for his dead Inés, Pedro revealed that he and Inés had been secretly married. He then proceeded to stage the coronation his queen never had. “{Dom Pedro] had Inés’ body exhumed and, legend has it, dressed the cadaver ina purple robe, puta crown upon its head and compelled the nobility of the realm to come and kiss the decomposed hand of the "Dead Queen.” Portugal, Michelin et Cie, 1985Performance Notes LThe Court at Alcobaga Although the beginning tempo marking is quarter-note=88, the performer is certainly encouraged to take some liberties, particularly in the introduction (mm. 1-8). Beginning at the pick-ups to measure 21, one could phrase this like a cadenza, backing off the tempo a bit and having a slight accelerando to smooth over the seams of the rhythmic modulations. From measure 25, it is important to stay right about quarter-note=112, as the feeling should be somewhat maestoso and not too fast (not only that, the rhythmic passages later in the movernent will Jose clarity). When choosing sticking for some of the passages, think not only about technical facility, but the phrasing of the musical line as well. IL Lament ‘The challenge with this movement lies in phrasing the individual lines played by each hand while trying to blend and balance to achieve an “ensemble” sound. It might be helpful to lean on the downbeats (no more than a tenuto) in measures 8-10 and 29-31 to ensure that the feel of the beat does not shift to the first right- hand sixteenth-note. Take care not to alter the tempo as the ostinato should maintain a steady pulse, like that of a heartbeat. ML Dom Pedro’s Revenge The first section of this movement (measures 1-51) is intended to have an “unpredictable” quality about it. The meter changes, subito dynamic shifts, and tuning scheme should all lend themselves to achieving this overall effect. The middle section brings back familiar themes from the first two movements, Measures 63-73 are extremely free and should not sound metronomic. The grand pauses in measures 41 and 86 are as much for visual effect as musical effect. Itis recommended that the performer dampen only the last two drums struck in the preceding measure and then freeze momentarily. Attempting to dampen all the drums would result in a rather unappealing visual aesthetic. The final section should continuously build in intensity culminating in a fast, furious finish.Alcobaca Suite Jor Five Unaccompanied Timpani . Kevin Erickson opebrc I. The Court at Alcobaca 1 med. soft mallets freee P Pp— mp tohard mallets A tempo rivard. orese. e accel. poco a poco desta SF © 2006-Innovative Percussion