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Thread: Skating music you can't stand

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    Skating music you can't stand

    What are the pieces of music used in figure skating, over used or not, that you just can't stand?
    Mine are Schindler's list and Rondo Capriccio - too whiney andqor heavy.

  2. #2
    can't come down to Earth prettykeys's Avatar
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    Quote Originally Posted by daphna View Post
    What are the pieces of music used in figure skating, over used or not, that you just can't stand?
    Mine are Schindler's list and Rondo Capriccio - too whiney andqor heavy.
    The music from Schindler's List is beautiful but I'm concerned about it becoming a warhorse and diminishing its thematic significance. A sober, moving program by Jonathan Cassar or Julia Lipnitskaia--yes. Blah programs/skates, sorry...then it's just being "used." :(

    I'm very sick of Carmen and would be happy if I never had to listen to it again.

    Wailing Christina Aguilera... (I'm looking at you, Sotnikova!)

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    Custom Title chapis's Avatar
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    Sherezade

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    On the Ice Tippi1963's Avatar
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    Enough Firebirds already. Retire that piece.

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    Personally, I really dislike Don Quixote by Ludwig Minkus.

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    Quote Originally Posted by Tippi1963 View Post
    Enough Firebirds already. Retire that piece.
    This.

    Also, no more swans. Of any composition. And if there must be swans, can we not have feathers on the costume? Just once?

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    Custom Title chapis's Avatar
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    Quote Originally Posted by louisa05 View Post
    This.

    Also, no more swans. Of any composition. And if there must be swans, can we not have feathers on the costume? Just once?

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    Custom Title KwanIsALegend's Avatar
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    Carmen!

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    Wicked Yankee Girl dorispulaski's Avatar
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    17 Moments of Spring - 4 minutes of that music feels like 17 days! Several Russian skaters have used it (thankfully, quite some time ago.)

    I also dislike Otonal-and anything else that is a painful dirge.

    Also Requiem for a Dream.

    And the song I Will wait for You from the Umbrellas of Cherbourg, especially if the original loud caterwauling singer is used.

    Almost any song which a bandoneon is played (most tangos)

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    Not a fan of Masquerade Waltz.... It sounds awfully repetitive (and not in a good way that builds like Bolero) and laboured.

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    Outdated Old Dinosaur
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    Retreads of modern or popular tunes or themes, like Bond or Chaplin. It's only "unique and original" the first time it's used. Even Jason Brown's Prince SP music is starting to get around.

    I tend to like more classic, or at least classic sounding, pieces.

    That said, there is a huge library of music in this genre that is not Rach II, Carmen, Nessum Dorma, Swan Lake, etc.

    Edit: Oh! and add Les Mis to the list of options I could live without.

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    and... World Peace! Tonichelle's Avatar
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    Quote Originally Posted by prettykeys View Post
    Wailing Christina Aguilera... (I'm looking at you, Sotnikova!)
    Ugh, YES! THIS!

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    The Feeling Begins. I have no feeling left after being subjected to 4 and half minutes of The Feeling Begins.

    Vocal versions of Les Miserables

    Lacrimosa

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    Keeper of the Kweens OGM. MK's Winter's Avatar
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    I have pretty much had it with Malagueña...

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    Quote Originally Posted by daphna View Post
    What are the pieces of music used in figure skating, over used or not, that you just can't stand?
    Mine are Schindler's list and Rondo Capriccio - too whiney andqor heavy.
    Not Julia with Schindler's List is it whiny or heavy. Julia imbues Schindler's List with startling sentimentality. When Julia performs Schindler's List, there is ecstasy, a correct sense of pathos: a stirring up of one’s feelings, an interpretation of innocence so intense that it almost hurts-- not unlike Pavlova's latter days performing Swan Lake in Cairo. There is a mercurial quality of sudden changes from naiviete to tragedy, which Julia lends Schinder's List a freedom to roam into supermelodiousness (even though patterns in the piece only lend itself into guarded polytonality). Julia approaches the swelling modulation to fluctuate it between gossamer and a kind of endearing grandiloquence. Julia turns a typical Spielberg(?)-Williams mope job into something approaching Nino Rota's, or of much that is Kurt Weill, that even would bring a WWII fascist to tears. Julia and Schindler's List is an image of our life: a touchingly brief joy that arises out of nothing and dissolves into everything to whomever are known as shy and melancholy.

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