Also an interesting tidbit from NHK article about Shoma's practice and preparation for the GP series, it seems that the theme of the FS (Timelapse/Spiegel im Spiegel) is Shoma's skating life. (But he wasn't quoted saying so in the article)
【NHK】フィギュアスケートの今シーズンのグランプリシリーズが始まり、男子シングルの宇野昌磨選手が11月の大会を前に出身地の愛知県…
www3.nhk.or.jp
Thinking about this today, and sorry for unloading some thoughts here:
After listening to the music back-to-back (before seeing Shoma skate) and watching Shoma skate it for the first time, I did guess that the FS is based on Shoma's skating life in a general way, because... an intense, turbulent strings-led music that sounds like it's chasing something relentlessly and leading to a gentle, hopeful quiet conclusion of the program? It does feel a lot like who Shoma is as a competitor, always chasing, always striving, always fighting, but also managing to find his peace in skating.
But now I'm also thinking about the reason Stephane may have put these two pieces together and selected it for Shoma's program. (While Kenji Miyamoto did the choreography, Stephane Lambiel chose the music for Shoma's FS).
I did some research and "Timelapse" is actually a part of a soundtrack Uno Helmersson did for Magnus, a documentary about the Norwegian chess champion and prodigy Magnus Carlsen. And of course, the "Timelapse" part of the soundtrack represents Magnus' growth from chess prodigy to be chess champion, as said by Uno Helmersson, the composer himself about the soundtrack for his movie:
I tried to manifest the core of chess with piano and strings, trying to keep the score as simple and plain as possible. I wanted to bring forth the strive of Magnus and his development as a character, so I had this idea of letting the instrumentation mirror Magnus’ journey from child prodigy to chess champion. One particular place is the timelapse where he grows into a young man. This piece opens with a string quartet, then the other musicians join in one by one until we have a full string orchestra with piano along with Magnus getting older. After this we stay with full string section until the end.
Source:
https://moviescoremedia.com/magnus-uno-helmersson/
So I think Timelapse is a quite obvious choice for a piece to convey Shoma's growth as a skater. And of course, Shoma has used a lot of strings-led piece, so choosing the version of Timelapse that's led by a solo violin (Mari Samuelsen) fits him even more. Shoma does, of course, skate alone on the ice even though he is supported by the people he loves and trusts that helps him make things happen- not unlike a soloist with the orchestra. Also kind of re-contextualizing the use of the music instead of choosing the documentary soundtrack as it "belongs" to the documentary subject, but the other version is not tied to the documentary.
But then the choice of Spiegel im Spiegel interests me because while musically it is interesting in skating to go from a fast piece to a slow piece (usually it's the other way around), now I'm wondering if there's any meaning in the choice of the music, or it's chosen because it is one of the many beautiful classical pieces in the world.
Now, I'm projecting, but I'm thinking about Shoma seeking his magnum opus this season (credit to
@Hronop for this phrase) , seeking the answer of what kind of skater and artist he wants to be, how can he convey expressiveness on ice, how can he move people's hearts with his skating. And in a way, Stephane giving him a program that ends with a piece which title translates literally to "Mirror in the Mirror" feels deliberate. The answer to Shoma's question is in the mirror: it's Shoma himself. The artistry and the expressiveness that Shoma seeks is already within him, Shoma just needs to realize it. Stop hiding from it (thinking about how Spiegel im Spiegel is music you cannot hide from, credit to
@throw_triple_flip for that opinion as well). Realize that he has the ability to express himself on ice that's different from any other skater, and take ownership of that ability to continue to reach new heights. As Stephane had said before about Shoma: "I see no limits!"
At first I thought that.. okay, Spiegel im Spiegel, it sounds like a farewell, with this wistful but hopeful sound. So quiet and dignified, fitting if this is the end of the intense journey. But now I'm thinking that this program is Stephane's answer to Shoma's question. So whatever results this program will have competitively, I really hope this program can convince Shoma and make him realize he already is so expressive as a skater and his artistic potential is unique for him to explore.
PS. Also while the Spiegel im Spiegel piece itself is musically peaceful, the concept of mirrors in the mirror / infinity mirrors itself represent limitless potential, unlimited space, even chaotic and dissonant energy due to the infinite reflection. Not only that it does match the SP music which is music from a movie about multiverses and the choices made that leads to different outcomes in different worlds, I think it's a good match with Shoma, who faces himself honestly (reflection in his mirror) but also have limitless potential with his talent.
PPS. At first I thought the FS reminds me most of Moonlight Sonata out of Shoma's previous programs, but now I am reminded of Dancing on My Own / DOMO, which is the other program that was autobiographical in nature. David Wilson who choreographed it said this on why he chose the song for Shoma:
I was hoping that he could attach to the song to give himself strength, so that he could find himself in the song. Whenever you do a piece that is in any way autobiographical, it has to be in an uplifting way. Otherwise, it is too hard. It is too hard to bare your soul in front of the world and be vulnerable. But if there is an uplifting factor to it, then you can find your strength and you can find your reason to do it.
Source:
https://skating-to-music.blog/2020/...talks-about-his-collaboration-with-shoma-uno/
Sorry for unloading my thoughts about the FS and the music here!
A 4T-3T. Bring on the skating!!!!
