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kolmogorov-is-sad · 7 years ago

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Otoñal by Raúl di Blasio. Ice watercolor of Yuzuru Hanyu.

Yuzuru Hanyu’s 2018/2019 season SP analysis by Yulena translation. Source: pt1, pt2.

“The origins of my skating come from Russia. For that reason, I want very much to deliver a strong performance here. Both tomorrow’s and today’s programs have a connection to Russia. [Tatiana] Tarasova helped to choreograph the original “Otoñal” program. I am very grateful to the person who created the choreography and watched me standing, and also [Natalia] Bestemianova and [Igor] Bobrin, who had helped me with choreography for the “Romeo and Juliet” program. I am overwhelmed with emotions just because such people have awarded me with standing ovation. I saw Tarasova as I approached the jump, and Bobrin was in the guest seat of the arena clapping on his feet. Thank you very much” ©

– interview after the SP at Rostelecom Cup 2018

Musical arrangement of the 2018/2019 season’s short program for two-time Olympic champion Yuzuru Hanyu is one of the piano piece by Raúl Di Blasio. Both of his programs this season go back to his origins and the starting point of Yuzuru’s career, to his childhood dreams. They are also an immense tribute to the skaters he’s considered his idols since his early days - Johnny Weir and Evgeni Plushenko.

According to Yuzuru’s own words Johnny Weir’s “Otoñal” is one of the programs that left the greatest impressions on him in his skating life.

“The arm positions during spins, the softness of expressions, the way to pick up nuances and move to music, landing positions and so on, it was the music of the programme that led me to perform with attention to each of these details.”

– Public practice in Toronto, 30.08.2018

Having seen Johnny’s performance as a child Yuzuru listened to this music while imitating his idol and dreamed of creating his own program.

“I was stunned by his neutral androgynous beauty that he as a man could present, that was his main charm. At that time, I couldn’t see and evaluate jumps by GOE right away, but the smoothness on the landings, beautiful positions on the exits, precision of jumps placement to the music – all that was made meticulously. First of all the landing. And that smoothness. Of course, all those things captured my attention. I clearly remember how I wanted to jump and skate just like that.”

– Public practice in Toronto, 30.08.2018

The choreographer for the new short program once again was Jeffrey Buttle. From Brian Orsers’ book “Team Brian”:

"Yuzuru has incredible creative chemistry with Jeffrey Buttle and Shae-Lynn Bourne. You may say that it eould be hard for him to work with anyone other than those two. Yuzuru has his own jump entries that fit the way he moves, and comfortable timing of choreography is very important for him. Even his quads flow out of steps, he keeps an image of the perfect form in terms if speed, that step and curve angle in his head. He needs a choreographer who could share his attention to details, so unique for the skater of his level.”

When Jeffrey learnt the name of the composition he first of all ask about Yuzuru’s associations with the music. He answered: “Something like reflection.” “Otoñal” means “autumnal” in Spanish. Autumn as a memory from the past and reflection on the passing time, dreams and origins. That was the chosen theme for the choreography of the program, from the starting to final poses.

“And for him, Autumn is sort of a time of the year for reflection and about looking back. Almost a time of nostalgia? And I think it was so appropriate given what he accomplished and everything that happened last year. Choreography itself begins with… for me when I think of nostalgia, I think of looking through an old family photo album, so the very first movement is him opening that album.”

– Jeffrey Buttle, interview after Public practice in Toronto 30.08.2018

The main idea of the composition lies in the travel in time and calling (обращении к ) to the personal story in figure skating. In the starting pose according to the Jeffrey’s idea Yuzuru opens the album with memories of the past. And so the skating choreography, musical and compositional structures of the program, distribution of the elements all go back to the origins and show great respect to the people that had influenced Yuzuru’s path.

The content of the program includes two quad jumps, one executed in the combinayion wioth the triple toe loop and a triple axel: 4S, 3A // 4T+3T, FCSp, CSSp, StSq, CCoSp.

The choreographic structure (composition) of the program was evolving during the first three competitions of the season.

1. The structure of the program has been changed that stood out as uncommon and unusuala and uncharacteristic for Yuzuru positioning of all the jumping passes back-to-back in the single block. That was a decision taken by Yuzuru and Jeffrey together because that distribution would allow to incorporate jumping and not-jumping elements (step sequence and spins) most harmonically in the musical structure. The jumps from the entry to the exit are executed one after another (bam-bam-bam ©), then comes a soft musical transition to two spins and the emotional explosion of the step sequence at the end of the program. “[...] Stillness versus the tempestuousness of the steps.” ©

In the first half of the program with gentle subtle music the jumps are done effortlessly softly and smoothly, when the emotions are expressed with the second half via the spins and sequence.

Originally the center element of the program – 4T+3T combination – was planned in the first half. But “it is all meaningless unless it allows to win.” © So after the very first competition of the season (ACI 2018) sports competitiveness and desire to win took over, and the combination was moved to the second half of the program.

This change brought corrections to the original choreography and composition: the entry to the 4S became more complex, the transition between two spins and sequence changed, and new skating transitions were added between the 3A and the 4T+3T entry. Before the Rostelecom Cup 2018 the entry to the triple axel also changed and new transitions between triple axel and combo were added once again.

Despite the move of the combo to the second half the jumping passes remained in one block that the most intricate skating choreography in between the elements and on the entries/exits mode possible. The notorious strategy of Yuzuru is based on the idea that the jumps are one of the performance parts. If they are done perfectly the program gains better fluidity and continuity of the movement from one element to another, and seems complete. More than that, Yuzuru is set to present the program in such a manner that the sound of the take-off and the landing themselves would enhance the выразительность of the quite musical intonations.

“Also, the sound — shu! —of the edge when taking off, the sound — pa! — of the landing. I want to make [this program] such that even these sounds can be felt, as a part of the expression.”

– interview for Figure Skating Life vol 15 (10.10.2018)

2. Positions of the jumps and spins changed in the pattern of the program, with the latter becoming more multidimentional. The quad salchow (together with the trajectory of the entry) have been moved to the right part of the rink. Compared to the previous short program (Chopin Ballade №1) the triple axel and the combination placement changed. Th eboloved axel now is executed on the trajectory along the long board of the judging panel with additional chic, the combo went from right to the left side from the judges’ perspective. The camel spin went to the left side, the sit spin with the change of foot – very close to the left short board, and the final spin – to the center of the ice rink.

3. Due to the placement changes after the ACI there also came the changes in the structure of the step sequence, it became shorted by 4s and the complicated steps and turns counting to the levels of difficulty became more “packed” together.

4. Some of the difficult variations of the basic positions in the sit spin and the combination spin counting to the levels of the corresponding spins were changed. With that the variations are not just executed to earn the levels but also to choreographically enhance the interpretation of the music with precise and flashy accents with hands movements. The distinguishing qualities of Yuzuru’s programs is the prevailing skating choreography as the principal mean of interpretation; the continuous flow with various connecting elements and steps contributes to the wholeness and creates multiple dimension to the composition. This is accompanied with the special choreography of diverse upper body and arm movements. And the unity of both the skating transitions and the space choreography throughout the program makes the unity of the music and the skater’s performance stand out. It expresses the intonations and reflects the changes oh the tempo and the nuances of the phrasing. .

With the changes of the composition after the first competition came the changes of the arrangement of the music.

Right after the ACI 2018 Yuzu contacted sound producer Keiji Yano asking him to make corrections to Otoñal for the purpose of moving the combo. It is a known story that Yano-san has rearranged the track for SEIMEI more than 30 times following Yuzuru’s requests. This time he also confessed: “His orders were precise as usual. This time too, [his instructions] were detailed, as always. It was a test of my skills.” At the beginning of October Yuzuru received the new arrangement and started to training according to it.

Musical structure of the program and its collaboration with the composition:

Intro

(from the starting pose to the beginning of the combo entry (transitions – entry – 4S - exit – transitions – entry – 3A – exit – transitions).

The program starts with some low piano harmonies turning into gentle and quite intonations at the beginning of the new phrase. This transition is choreographically translated with Ina Bauer and highlighted by the smooth lines and movements of the skater. This part is based upon two melodic phrases (like nostalgia and look back into the past).

Development

(transitions – entry – 4T+3T – exit – FCSp – transitions – CSSp)

Transition between two musical parts is highlighted with a series of twizzles. The combo entry coincides with separated abrupt low accords. Emotional tone and intensity grow stronger throughout the whole entry and reach the highest point at the moment of combination with both jumps landed on the beats. The transition from exit to the camel spin separates the two musical phrases. The new one has a contrast of intonations. And the momentary transition evokes images of the grim autumn sky with simmering clouds suddenly broken by a ray of sunshine, of nature coming alive under this warm light. But surely “everyone will see something different” ©. The phrase ends with another set of low accords at the transition to the sit spin with change of foot.

Culmination

(StSq - CCoSp)

This is the most passionate and emotional musical part with strings introduction at the beginning of the StSq. The dynamism of the music increases and results in more energy and expanded scope of the movements during the step sequence execution. At the end of the sequence the strings die out and the final combination spin is set to the piano part that has a smooth transition to the ending pose and concludes the program in a beautiful way. All three music parts are intricately tied with the choreographic structure and create an integral image of the program, in which the music is not born by the fingertips on the piano keys but comes to life with the blades touch on the ice. Each musical phrase is accompanied with amazingly arranged choreographic accents.

The elements and skating transitions connection to the musical phrases comes as follows:

The starting pose with elegant turn of head to the side of extended arm as the call to the past and reminiscence of the bygone days.

The begining of the program consists of melody in five low separeted harmonies with piano accords. There is a turn on the first accord and a movement of both arms on the second harmony in the posing.

A LFO waltz three turn with accentuated lobe of the exit and a crossed step RBI/LBO on the beat (third accord), direction change forward, running step, chasse LFI/RFO and direction change right on the note (forth accord), lingering and accentuated crossover and two more crossovers on the final fifth harmony. Delicate and slightly reversed choreography of this part is connected to the laconism of the musical phrase. Then Yuzuru softly stands in the Ina Bauer (with elegant arms movement) that unites the first part to the second and also marks the beginning the solo 4S entry: accentuated waltz three turn LFO at the start of the phrase – backward power three turn RBO – inside spread eagle – RBO backward power three turn – 4S.

The element in the while fit the music phrase and in its length: a difficult entry to the jump, an exit after the landing and skating transitions right after are all executed in three measures of the musical phrase. The first measure starts with the entry steps and ends with soft and almost silent landing; the exit into counter - Ina Bauer for the second measure; skating transitions after the exit of the jump fit the third and final measure. Holding closer to the notes ©

The difficult exit from the landing lobe to the RBO counter (such exit from the quadruple jump in the only one in the field of men singles) with smooth transition into the inside Ina Bauer. Then comes direction change forward, LFO three-turn, LBI/RBI broad step with both arms movement on accent at the end of the measure. Softness of the piano sounds during transition to the Bauer is choreographically enhanced with graceful turn of the head and arms going down smoothly.

The accentuated crossover (with prolonged exit lobe), crossover, RBI/LBO chasse and to the fading sounds of the music Yuzuru goes into the outside spread eagle. This long SE set is executed with emphasis on the soft movement up of the head and the right arm that highlight the laconism and gentleness of barely audible sound on the verge of two musical phrases.

“He can make the most pregnant pause nothing moment be so memorable [...]”

– David Wilson, Japan TImes 21.08.2018

The beginning of the new musical phrase is marked with elegant change of edge in the spread eagle with arms softly going up on the note. The following skating transitions, difficult entry to the triple axel, the jump itself and the difficult entry are all in harmony with the musical structure: LBI/RBO chasse and accentuated RBO choctaw, change of foot, RFO/RFI change of edge, RFI swing mohawk, accentuated LBI/RBO chasse with right arm soft moving as if touching the piano keys and a crossover at the end of the measure.

The entry to the 3A fits the second measure of the phrase: RBO choctaw – RBO/LBI crossed step – LBI/LBO change of edge – LBO/RBI crossed step – LBO counter at the end. The jump has a difficult exit on the lobe of exit – RBO twizzle – RFI three-turn – mini-Bauer – that fits the extension of the musical rhyme. Holding closer to the notes ©

His triple axel is not just a jump. It’s art. An element perfectly integrated in the choreographic pattern of the program and presented as organic ending of the skating on the entry and natural premise to the skating on the exit. It is remarkable that the skating transition after the landing is executed in two motions with inartificial pause (on the three-turn between a twizzle and a Bauer) at the end of the phrase to the fading music. Such an absolute harmony in movements is hard to put into words. It is complete fusion with the music, when the rhyme of the steps and turns on the entry/exit and the jump itself matche the music beats.

“Hanyu’s triple axel is a jump of an outstanding beauty with natural and effortless timing.” © Elvis Stojko

The exit of the triple axel precedes a transition of steps and turns musically inserted in the additional measure: crossover, LBO choctaw, accentuated RFI bracket, RBO/RBI change of edge, RBI/LBI broad step going into posing, crossover. Smoothness of this transition execution set to the final musical phrase of the first part demonstrates excellent interplay of movements and blade and the music.

The second part starts with musical phrase of changing intonation that is choreographically expressed with a series of twizzles and skating transition: crossover with accentuates arm movements – LBO choctaw - crossover -Jackson (composition step). Musical tone changes with increase in intensity and accentuated piano accords coming in at the start of combination jump entry, the change marked with arms movement. Skating transitions on the entry are following the increasing dynamics and executed in accordance with such. The combination itself takes a special place in the composition of the program; it highlights the intonations of the phrase precisely. Holding closer to the notes. ©

Direction change forward – LFO three-turn with great flow and body and free leg move on the exit – inside besti squat – crossover with direction change forward – LFO counter - LBO/RBI crossed step – direction change forward – LFO three-turn – 4T+3T.

“He studied all the phases of the jumps in every detail and does them in one breath.” © Kurt Browning

This combination was executed [at Rostelecom Cup 2018] just ten meters away from me and was truly impressive, both light and powerful, fitting the general mood of the program. Yuzuru flied by the boards in a whirlwind and practically slammed a spread eagle on the exit in to the ice as if in a statement: “I’m Yuzuru Hanyu, I’m strong, I’m confident, and I crave for victory.”

A direction change forward and a FCSp entry are executed to the change of musical intonation at the start of the new phrase. This new musical theme is choreographically presented with a block of two spins and a skating transition in between. This is the most graceful and the airiest part of the program especially contrasting with the combination jump. Light and elegant touch of color in the music watercolors…

Features of difficulty of the spin:

Difficult entry (arabian)

Difficult camel variation (upper);

Difficult variation of the sideway camel spin (catchfoot) «ring»;

8 turns without a change of position («ring»)

The difficult variation of the basic position execution is perfect.

The spin is wonderfully fit the musical structure of the program: – the Arabian jump on the entry highlights the change of phrases and intonations; – the landing of the Arabian is placed right on the start of the beginning of the new phrase; – the change to the difficult variation of the camel spin “ring” at the start of the second mesure and the execution of the variation in two measures; – exit from the spin highlight the start of the next measure.

Intricate hands gestures in the difficult variation positions throughout the spin enhance the musical accents: – arms being raising and fists clenched at the end with subsequent arms movement down with palms unclenched to the accent at the end of the measure; – undulating soft up and down movement of the left arm in the “ring” position with hand reaching out at last right to the accent; – almost indistinguishable gentle movement of the left hand then elegantly going down that highlights the beginning of the next measure.

The end of this measure has very musical exit out of the spin with smooth and soft movements of both arms and head. Skating transition before the sit spin with change of foot fits in the next measure: exquisite bracket step going into lightest toe steps with direction change and half-dropped arms – as if running through the piano keys © This stunningly musical and delicate transition between the spins is one of my personal favorite moments of the program.

The sit spin with change of foot (CSSp) execution enhances the change of mood and highlights built-up of the emotional intensity as the culmination draws closer. Features of difficulty:

difficult entry - “windmill” (illusion spin);

jump in the spin without change of foot (flying sit spin);

change of foot (from right to left);

difficult variation of the sit spin (sit sideways);

difficult variation (sit behind).

The maximum number of features of difficulty the sit with change of foot can receive for spinning on one foot equals two. This condition is fulfilled: two positions are executed on the right foot and another two – on the left. Thus the spin receives level 4. The spin is excellently inserted in the musical canvas of the program, the execution growing more dynamic in accordance with the music changing: – difficult entry to the spin is executed right on the start of the piano passage accompanied with low piano accords at the end of the second part; – “spinning” into the basic sit position on the passage; – accentuated jump in the spin and the change of foot;

Melodic accents in the spin come with arms and hands movements in difficult variations of the basic positions and precise choreographic features: – touch of both hands to the face in the basic sit spin position on the note; – accentuated right hand touch to the cheek in the difficult body position of the “sit sideways” variation that influences the balance; – right hand movement on the resounding low accord during the difficult variation “sit backwards”.

Yuzuru completely controlled all the space of the Megasport Arena. And the audience seemed to feel that as one, and responded with thunderous applause on the last two positions of the spin. Yuzuru wasn’t skating the program, he was telling his story. It seemed that music was emerging from the blades meeting the ice and his hands moving softly, as Yuzuru dissolved in the performance. During the program mood changed from quiet melancholy of the first half to passions raging on the combination jumps and then to the overwhelming happiness of the step sequence. How proudly did Yuzuru toss his head bursting into the sequence with a radiant smile! He skated like there was no tomorrow, giving his all to this performance, and involuntary tears came streaming down my cheeks. Ow happy, inspired and free he was at that moment! I haven’t seen enough of that ©

The Step Sequence

Toe steps L/R/LFI, broad step LFI/RFI, twizzle RFI ccw (2 turns), three-turn RFI ccw, turning choreographic movement (steps) of 720 degrees ccw, chasse LBI/RBO, choctaw RBO ccw, choctaw LFI cw, half flip cw, mohawk LFI cw, twizzle RBI cw (2 turns), half flip RFI cw, mohawk LFI, twizzle RBI cw (2 turns) - rocker RBI cw - counter RFI cw - crossed step RBO/LBI, change of edge LBI/LBO, crossed step RBO/LBI, change of edge LBI/LBO, choctaw LBO cw, broad step RFI/LFI, mohawk LFI cw, hydroblade (right on the final of the musical phrase), one-foot axel (in which Yuzuru basically flies up at the beginning of the new musical phrase), chasse LBI/RBO, mohawk RBO, crossed step LFO/RFI, bracket RFI cw, cross roll RBO/LBO, lobe LBO with free leg swing, loop RBI cw, falling leaf cw, bracket LFI ccw, crossed step LBO/RBI, direction change forward, rocker LFO ccw – counter LBO ccw – loop LFO ccw.

Scheme of the Step Sequence

Table of difficult turns and steps of the StSq:

Features of difficulty of the StSq:

Following turns and steps are cunted towards the features: two clean choctaws (cw and ccw), two rockers (cw and ccw) two counters (cw and ccw), two brackets (cw and ccw), two twizzles (cw and ccw), two loops (cw and ccw). All in all 12 difficult steps and turns.

All 6 types of difficult steps and turns are executes in both directions (clock-wise and counter clock-wise), that satisfies complexity criteria, maximum level of the StSq is 4.

Rotations in either direction (left and right) with full body rotation covering at least 1/3 of the pattern in total for each rotational direction (see scheme). Feature counted.

Use of body movements for at least 1/3 of the pattern (arms, head, thighs and upper body work is definitely enough). Feature counted.

Two different combinations of 3 difficult turns on different feet (first on the right, second on the left). Both are executed with a clear rhyme within the sequence. Feature counted.

Thus all four features are counted towards 4 level of difficulty.

The element as a whole is wonderfully implemented in the musical canvas. The timing and scale of elements (e.g. hydroblade, one-foot axel, Ina Bauer) compliment the rhyme and beats. Every step and elements also enhance the precision of interpretation and highlight the phrasing. The same can be stated about the choreographic accents during the execution that fit the rhythmic pattern: steps and turns at the start and the combination of hydroblade and one-foot axel executed on the change of phrases, the second combination of three difficult turns that coincides with the end of the phrase, the change of foot right after the final loop at the end of the measure and distinguishing the end of the sequence. Movements suit the mood and style of the music and also become a mean of interpretation. The final combination spin CCoSp is entered through the “traveling came” at the beginning of the new musical phrase to highlight wave-like changing intonations of the final part. Features of difficulty of the spin: Camel spin

change of edge in the camel spin from inside to the outside;

difficult non-basic position;

Change of foot (from left to right)

difficult variation of the sit spin (sit forward “a-la Johnny”)

difficult variation of the upright spin (“scratch spin”).

In the combination spin all the three basic positions are executed: camel, sit and upright. Four difficulty features are used. For the combination spin with change of foot the maximum number of features attainable equals two for each foot. This requirement is fulfilled (two position on the left foot, two – on the right). Thus the spin is level 4.

Change of positions in the spin on the left foot by the measures: – change of edge in camel spin – transition to non-basic position – change of foot and transition to the difficult variation of the sit spin on the beat – difficult variation “scratch” of the upright spin on the fading of the melody at the end. Choreography is accompanied with the intricate hands and arms movements in the spin to even further express the musical accents:

– accentuated choreo during the camel spin: – undulating hands movements in the “pancake” position; – gentle left hand gesture in the upright spin.

Transition to the final pose that mirrors the starting one, symbolizes the flow of time. The only fascinating difference: in the starting pose Yuzuru turns his head in different direction. His eyes seem to be fixed on the future, on new hopes and dreams. Everything continues to…

Johnny Weir, interview for Number 966, 22.11.2018:

“Yuzuru used some elements of my program that looked very harmonic. At the same time the program became something personal for Yuzuru, he skated it in his own style, that touched me very much.Yuzuru did everything in order to fully express the music. And if I showed it as soft and gentle sadness, Yuzuru demonstrated his fierceness and the brilliance of the composition. Music just as people is versatile, and Yuzuru and I showed different interpretation sides of the same melody. His talent became obvious even in his childhood day, but he have grown up to be the athlete I couldn’t even imagine. Yuzuru became so unbelievably strong, and despite the injury conquered his second Olympic title. I never thought I would live to a skater so strong. To everyone who doesn’t know him personally I can say that after all this time his compassion for people and his humanity haven’t changed in the slightest. He’s famous all around the world, and yet his modesty and approach to people remain the same as they were on the day I’d met him for the first time.”

Translator’s notes:

* the original article was published in order to celebrate Yuzuru’s 24th birthday, as was this translation, belated as it is. Hope you’ll be just as happy as you deserve for inspiring so many people all over the world with your skating, your talent and your heart, Yuzuru!

** some quotes were unfortunatelly translated from Russian (credits to Аnna Zamotayeva and Evgenia Mitrofanova) where the original wasn’t available. Considering that some quotes went from English to Japanese to Russian to English, nuances may be lost in translation. If you have sources with original (either Japanese or English) quotes, I would be happy to improve the text. *** if you have any questions or suggestions concerning technical skating details, chances are I messed up in the translation, and it was not a problem of the original, so please, contact me first. Also, none of the photos belong to me, and if you would want your picture taken down, I would do so right away. Thank you!

#yuzuru hanyu #translation #analysis #otonal #get well soon yuzu #2018/2019 season #SP

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