2018-19 Programs and Choreographers

sleepingsleeping said:
Regarding music mix, I would like to introduce interesting stories.
https://victorysportsnews.com/articles/4441/original

zuru asked the composer to allow the music mix again as being for sports, not for commercial purposes. Composer gave permission as "exception only this time". But it is clear that the mix was not what the composer wanted.
This program recorded the highest score of FS.
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Hello, your "interpretation" on this matter is very misleading. Apparently, there is a good translation of this article:
Because first:
When Hanyu-senshu brought Joe Hisaishi’s music over, [Yano’s side] got flustered. Speaking of Hisaishi-san, he is a leading musician in Japan, also famous for the music of animation works produced by Studio Ghibli.

“Although I am fine with doing it, I told the team on Hanyu-kun’s side, ‘Please at least get permission.’ We started by editing in parallel [as they sought permission].“

There was a reason why Yano-san brought this up. In the past, Kozuka-senshu wasn’t granted permission to use Ghibli music for the program piece when he edited it himself, leading to a whole sequence of events where they eventually went through the pains of re-recording in order to use the music in the program....
Click to expand...

And it leads to this:

“Although [Hisaishi] was not present, Hisaishi’s side listened to the actual piece that I had edited for the program on the spot. And [I brought up the fact] that figure skating isn’t for commercial purposes but is purely done for sports. That I hoped to be allowed to use Hisaishi-san’s music for a competitive program in this sport. That I would like to obtain permission to edit [the music] based on the competitive time requirements, demands of the performance, so forth. I requested everything formally. That it seems like Hanyu-senshu already has an image in mind; if somehow we could receive permission and talk with Hisaishi-san…”
Afterward, Hisaishi decided to grant permission. However, this was a special exception for one time only, granted because of Hisaishi-san’s kind generosity. With that, the program music, “Hope & Legacy”, took shape with exotic “Asian Dream Song” inserted between “View of Silence,” a beautiful piano piece. Only one such gem of a program exists in this world, and it became a representative performance of Yuzuru Hanyu.
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From https://wherespacepooh.tumblr.com/post/162588835769/the-world-of-figure-skating-music-spun-by-sound

And this part is very interesting:
Shortly after that, the team involved in the creation of “Hope & Legacy” was invited to [Hisaishi’s] concert in Tokyo. There, Yano-san greeted Hisaishi-san himself directly for the first time.
Click to expand...
 
Meoima said:
Hello, your "interpretation" on this matter is very misleading. Apparently, there is a good translation of this article:
Because first:


And it leads to this:



From https://wherespacepooh.tumblr.com/post/162588835769/the-world-of-figure-skating-music-spun-by-sound

And this part is very interesting:
Click to expand...

The important part is this.
This points out the problem of mixing music easily in figure skating.

https://wherespacepooh.tumblr.com/post/162588835769/the-world-of-figure-skating-music-spun-by-sound

The biggest problem was in connecting and using two separate pieces. It is inconsistent with the composer’s original thought and intent to marry pieces that are quite different from the circumstances of composition to musical concept. It’s not impossible to overlook if [he] were to edit and use either one of the two pieces. However, from the simple viewpoint of cherishing the music, connecting the two pieces was not something one can easily grant permission to do.

Afterwards, Hisaishi decided to grant permission. However, this was a special exception for one time only,
 
sleepingsleeping said:
The important part is this.
This points out the problem of mixing music easily in figure skating.

https://wherespacepooh.tumblr.com/post/162588835769/the-world-of-figure-skating-music-spun-by-sound

The biggest problem was in connecting and using two separate pieces. It is inconsistent with the composer’s original thought and intent to marry pieces that are quite different from the circumstances of composition to musical concept. It’s not impossible to overlook if [he] were to edit and use either one of the two pieces. However, from the simple viewpoint of cherishing the music, connecting the two pieces was not something one can easily grant permission to do.

Afterwards, Hisaishi decided to grant permission. However, this was a special exception for one time only,
Click to expand...

The point is they asked for his permission and they did their best to respect his music and he gave them permission. And in the end, he was even pleased to the point:
Shortly after that, the team involved in the creation of “Hope & Legacy” was invited to [Hisaishi’s] concert in Tokyo. There, Yano-san greeted Hisaishi-san himself directly for the first time.
Click to expand...
 
Meoima said:
The point is they asked for his permission and they did their best to respect his music and he gave them permission. And in the end, he was even pleased to the point:
Click to expand...

That's because composers want them to understand their music. If the composer wants a mix, the composer will not say "this was a special exception for one time only".

If the composer believes that good mixes can be made, he does not say "this was a special exception for one time only". Because if there is something good by the mix, there is no reason to prohibit it in the future.
 
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sleepingsleeping said:
That's because composers want them to understand their music. If the composer wants a mix, the composer will not say "this was a special exception for one time only".

If the composer believes that good mixes can be made, he does not say "this was a special exception for one time only". Because if there is something good by the mix, there is no reason to prohibit it in the future.
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That is because you are trying too much to read between the lines which might not exists at all. Do you walk in his head? If not, he might even sue you for fabricating his words.

In short, the composer said OK and he was ok with the editing team and gave them his permission. That was done. Move on.
 
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Barquero/Maestu's programs: Link
SP: "Buona sera signorina" - Fred Buscaglione;
FS: "2046 soundtrack"
(still hope this promising team picks up a GP spot)
 
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Tango Warhorse Count:
Libertango-9
Cell Block Tango-4
Oblivion-4
Maria de Buenos Aires-4
Adios Nonino-4
Tango de Roxanne-2


Added Weaver & Poje’s, Anastasia Vaipan-Law’s, Ushakova & Nekrasov’s, Fear & Waddell’s, and Azroian & Shiroshtan’s Libertangos. Also Serafima Sakhanovich’s Adios Nonino, Andreeva & Desyatov’s Cell Block Tango, and Gian-Quen Isaac’s Oblivion. And Alexia Paganini’s and Elizavet Voulgari’s Maria de Buenos Aires(es) and Kinayu Yokoi’s Tango de Roxanne.
 
DobrinFan said:
Medvedeva's SP https://www.youtube.com/watch?v=urWLxxfab4g
Click to expand...

It seems strange to see Orser at the Russian Open Skate. I mean, it is usually the west that imports Russian coaches and not the other way around :D

muffinplus said:
What was the first jump? 3 loop?
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DobrinFan said:
3Lz(e)
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Oh, goodness . . . a cross foot entrance 3Lz, has she been training with Brian Orser or Carol Heiss - Jenkins :blah:

https://youtu.be/CFmQGZhgRCw?t=133


------------------------------------------

But at least her 2A looks way better!

The 3F-3T seems as solid as ever. I want to say there is more running edge, but that might just be random variation.

The program is a great departure from her previous programs. I like the adventurousness of it.

TAT was watching very closely and clapped.

Mishin and Prokofieva clapped.

Moskvina is watching while sitting on the outer wall.

Zagitova was paying attention from the far end of the rink.

I like Medvedeva's tissue cat :D
 
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I think there's a lot of potential in Medvedeva's SP, though I don't think it's quite there yet. Though Brian wasn't as exuberant as he can sometimes be, they look to already be comfortable with each other, which is pretty nice. I find it more strange to see David Wilson at the boards than Brian, though...
 
Watching the whole program it seems her jumps still need a lot of work. The 2A looks better (but could use more travelling across the ice), but the Lutz edge is still questionable and she really hunches forward in the 3-3. Her posture is a bit better in the crossovers.

I think Orser's playing the long game with the jumps (since that could take a season or two to fix) and instead focusing on the skating skills and other basics. It's probably the best strategy considering that the jumps can take a while.
 
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