- Joined
- Jun 3, 2008
maybe it will get lyrics deduction :think:"The gentle winds, the rain that falls,
the tallest trees, I'm part of it all. (of it all, of it A-A-A-L-L !!! **cymbal crash**)
maybe it will get lyrics deduction :think:"The gentle winds, the rain that falls,
the tallest trees, I'm part of it all. (of it all, of it A-A-A-L-L !!! **cymbal crash**)
Pogue, to my knowledge there are two in Michelle's arsenal. One she did in about 1995 (and I can't recall whether it was an SP or an exhibition). The second was (please correct me if I'm wrong) her SP for her "rebelling" year of 2002, when she broke away from Nichol. It was certainly around there, and I can't at this point recall whether it was Nichol's choreography or whether Michelle revamped it herself.
I would presume if you are a balletomane, you would only see Swan Lake once if it was danced well.
How many programs to East of Eden are there?
Pogue, to my knowledge there are two in Michelle's arsenal. One she did in about 1995 (and I can't recall whether it was an SP or an exhibition). The second was (please correct me if I'm wrong) her SP for her "rebelling" year of 2002, when she broke away from Nichol. It was certainly around there, and I can't at this point recall whether it was Nichol's choreography or whether Michelle revamped it herself.
Apparently Sato was worried that Lynn might take offense and sent an apology to her beforehand. But Lynn was happy to enjoy the performance, and of course Yuka's musicality and technical excellence did justice to the piece.
I'm sure Flatt herself has thought a great deal about the music and the pressures associated with it.
I think it's fine if Lori is reusing music she has used for other people. We tend to forget that even if there are millions of musical pieces out there, most of those pieces are not skateable.
My beef with Lori, or any choreographer for that matter, that is reusing music they had once used for another skater, is using the same cut. For example, I don't know if it was Lori who choreographed Kristiene Gong's version of Salome, but Frank is her coach, and the cut is identical to the one Michelle used in 1996.
If anyone wants to know the lyrics of this tune, here they are.
"I have seen a summer day,
that slowly opens like a rose,
along a quiet road that wanders by
and I have smiled and wondered where it goes.
"I have stumbled through the night,
alone as any one can be,
then found a silent canyon full of stars
and in my heart I heard them telling me
I was home.
"The gentle winds, the rain that falls,
the tallest trees, I'm part of it all.
"I've seen the silver mountaintops,
and golden prairies on my way.
Now everywhere I go across the land
I stand so proudly in the sun and say,
I am home.
"The gentle winds, the rain that falls,
the tallest trees, I'm part of it all. (of it all, of it A-A-A-L-L !!! **cymbal crash**)
http://cache2.asset-cache.net/xc/50...1DCC4BB9D689BC00D28D4F04D7464B01E70F2B3269972
"I've dreamed of Eden all my life.
I find it more and more each day.
Now everywhere I go across the land
I stand so proudly in the sun and say,
I am home."
I read about this late last night and was pleased, that is until I read a few comments on the 'net, then I finally decided not to read the negativity, just enjoy the moment, and alas my smile came back.
For the record, I'm one that doesn't think any music is sacred, nothing at all. Music was meant to be enjoyed, not hidden away from the public, especially great music. And EOE is that and more. It is up to the skater to do it justice, and my hope is that Rachael can do this beautiful piece of music justice. ^)
Of course I'll hope for the best for Rachael, but I too have special feelings about Michelle's interpretation(s) of this music. Though when one thinks of the other signature pieces, I'd rather see someone use this than, say, Lyra Angelica or Dvorak's Dumky Trio (the main part of Black Swan). I tend to agree with Mathman that what made EoE special is what Michelle did with it, not some unusually superior quality in the music.
This reminds me of a pro competition in which Yuka Sato skated to Debussy's Afternoon of a Faun with Janet Lynn in attendance. (Lynn might even have been a guest judge, if memory serves.) Apparently Sato was worried that Lynn might take offense and sent an apology to her beforehand. But Lynn was happy to enjoy the performance, and of course Yuka's musicality and technical excellence did justice to the piece. This was an example of music that really did benefit from another interpretation; it's a landmark modern classical work, certainly equal to Swan Lake in terms of enduring reputation. Considering that its first interpreter was no less than Nijinsky, there is certainly room at the feast for someone like Sato, whom many fans consider to be one of the finest skaters of her era, as Lynn was of hers. (Afterthought: And how could I forget--John Curry also did an astonishing interpretation of the music.)
For most of us, though, East of Eden has just one association, and that's Michelle. For me, there's an extra emotional link between Michelle and the music. I think she skated it on some TV program within a week or so of Sergei Grinkov's sudden death in 1995. I remember the cathartic effect the piece had on me, skated with delicacy by this young girl who represented the future of skating at a time when skating fans were dealing with so much loss. To me, the song became a reminder that there was still hopefulness in life. I don't know whether Rachael can live up to such a powerful memory for me.