Palladio Score Pdf
Sara Legath
Apart from the score itself, the name Palladio has caused much discussion as to its origins. Put simply, it refers to Venice-born architect, Andrea Palladio. The form is a concerto grosso for string orchestra, with Jenkins saying this about the work:
The first movement utilises unity, with the main theme being played in unison by the whole string orchestra. This small kernel of melodic material and movement is then taken and developed throughout all three movements, but most obviously in the first. The way Jenkins has composed this is resonant to composers such as Antonio Vivaldi, with the first movement definitely taking some inspiration from his famous set of concerti: The Four Seasons.
The celebration of this baroque sound is heard throughout all three movements. There is a lot of light and shade throughout, with communication between instruments playing a key part here. Starting together, solo parts begin to emerge and alternate between solo and tutti markings, creating drama and suspense. Jenkins also utilises dynamics to build tension, adding to this idea of dramatic music.
The final movement is quick, and emphasises the importance of timbre at the beginning, with there being a mix of pizzicato and arco parts. The jaunty and brash melodic idea is repeated, steadily going through different harmonies for over two minutes. Soon, this idea is developed into a less-harsh style of playing, and one that is very resonant of the first movement. The ensemble is the soloist for this movement, and everything is played in unison, creating a powerful wall of sound. As aforementioned, with this score being inspired by Andrea Palladio, the harmony and structures are rigid and very mathematical, something that is less-heard of in the 21st Century.
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Their free skate performance set to "Palladio: 1 Allegretto" by Karl Jenkins featured a Level 4 group lift followed by a Level 4 intersection with a Level 4 point of intersection toward the end of the skate. Both elements were awarded nearly 10 points and with a total of eight Level 4 elements, Hayden Select maintained their spot at the top of the overall rankings, winning the free skate by over 19 points with a score of 132.15.
Competing internationally for the first time this season, their short program to "Song for the Little Sparrow" by Patricia Kaas started off strong with a Level 4 pivoting block followed by a Level 4 intersection with a Level 4 point of intersection. They ended the segment with 64.22 points.
Going into the free skate in sixth place, DC EDGE collected a score of 106.79 for their illusionists-themed free skate performance. Their program was highlighted by a Level 3 intersection with a Level 4 point of intersection in the second half of their program.
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Nashville star Sam Palladio joins the West End revival cast of Oklahoma!, succeeding Arthur Darvill as Curly McLain, beginning July 3. Palladio joins the company alongside fellow new cast member Lizzie Wofford, succeeding Rebekah Hinds as Gertie Cummings. Darvill and Hinds played their final performances July 1, and the production will continue through September 2.
They join a continuing cast including James Patrick Davis as Will Parker, Stavros Demetraki as Ali Hakim, Greg Hicks as Andrew Carnes, David King-Yombo as Mike, Anoushka Lucas as Laurey Williams, Marie-Astrid Mence as Lead Dancer, Paige Peddie as Ado Annie, Sally Ann Triplett as Aunt Eller, and Patrick Vaill as Jud Fry. The company is rounded out by Andrew Berlin, Arthur Boan, Shani Cantor, Anna-Maria de Freitas, George Maddison, Brianna Ogunbawo, Finlay Paul, and Helen K Wint.
The first collaboration between the Broadway Golden Age powerhouse duo of Richard Rodgers and Oscar Hammerstein II, Oklahoma! was adapted from Lynn Riggs' play Green Grow the Lilacs, and was originally choreographed by Agnes de Mille. The original production, which premiered on Broadway in 1943, is largely credited with being the first musical to fully integrate its book, score, and choreography towards advancing the plot. Fish's reimagining leaves the original text and score intact, while exploring them through a 21st century lens.
The creative team also includes orchestrator, arranger, and co-music supervisor Daniel Kluger; choreographer John Heginbotham; scenic designers Lael Jellinek and Grace Laubacher; costume designer Terese Wadden; lighting designer Scott Zielinski; sound designer Drew Levy; projection designer Joshua Thorson; and co-music supervisor and additional vocal arranger Nathan Koci.