I actually remembered the essay mainly for its incoherence and poor mechanics, but suit yourself. It wasn't your worst effort though; that would likely be the time you called Franz Liszt a composer who only wrote showoff music, described his Piano Concerto No.1 as being "classical" in style, and said it was very "German" of him (how does one get this many things wrong in such a small space?).
Wow, someone seems bitter. I realise you are trying for an intellectual put down, but you are trying much too hard. I am just another incoherent poster. You are just another incoherent reader. We fit in on figure skating boards just fine, so what’s the problem?!
DO NOT however misconstrued what I may or may not have said to attack me so personally. Any problems you have with me, please direct PM.
It took me a while to get what you are on about and when I did… just wow! Are you seriously referring to that late night whinge post I made some 2 years ago, on completely different topic on FSU relating to first impression of Kozuka’s Nausicaa Valley of the wind program?!
I am afraid your selective memories have reached the wrong conclusion. If I recall, only 1 or 2 posters commented then, including someone called M something 88? I remember saying that I don’t think Kozuka's Nacussica's valley of the wind FS program worked. I reacted strongly because it happens to be a sentimental childhood fav piece of music of mine (FYI I am visiting Museum Ghibli in Tokyo in 2 weeks time…Yipee to me!). I’ve said Kozuka doesn't have the right sort of musicality (melodic, emotionally expressive) to bring the music justice but perhaps Hanyu or Dai might do a better job. Given everything transpired since, I certainly think I was correct in my initial impression. I do vaguely recall someone did defend Kozuka saying he has great musicality with an example of his FS Piano Concerto no.1 in support. In which case I agreed that was a great choice for him, given the music construct was designed to showcase the technical virtuosity of the pianist rather than describing any story telling through music expressions. Lizst wrote his Piano when he was just 19. Young, restless, and a yeah a bit of a ‘show off’. My personal experience with 19 years old music prodigies may have influenced my views but from the busy notes, bold original use of chords used as powerful motifs one can almost see the youngman basking in his own brilliance and utter glory as he perform the Piano like some rockstar of his days. This loud and proud virtuosity piece compensate Kozuka quieter nature and complement his impressive technical presentation skills with little room needed to be particularly emotionally descriptive – a weakness of Kozuka’s artistry. I remember teased that Lizst’s Piano No.1 was very German like in approach – methodical, restless vanity basking in its own supremacy (Lizst - after all was the founder of New German school of music, and me being a proud Brit is certainly required to tease everything German due to our own inferiority complex) Where the supremacy of techniques themselves became the main focus rather than the aesthetics or the emotional resonance. It became an exercise of clinical efficiency, control, complexity and technical superiority. The music then overwhelms the audience through demonstration rather than inviting audience’s participation at will. Now feel free to disagree with THAT view, but DO NOT convolute my ‘essay’ 2 years later on topics that has nothing to do another to ...um...bamboozle me?
Where to start? "Only saving grace"? Sure, brush off 1/3 of the entire program as if it doesn't exist and attack the rest as empty if that suits you. Just don't think it'll convince everyone else. And really, Swan Lake same as Liebestraume? It's about as similar as Yu-na's Giselle and her Les Miserables. Speaking of Giselle, I have to say if that wasn't a complete slaughter of what the composer intended, what is?
Were you saying exactly the same during Giselle? Tarasova's intention during Swan Lake was clear: blatantly frontload the program, then do all the choreography once that's finished. This was true for Ladies in Lavender, and even for all of the programs Tarasova did for Yagudin, who is three times the performer Mao will ever be.
Where to start? Once again you are exaggerating and misconstruing several posts all once. Write multiple paragraphs is wrong, summarise too little is wrong. I do wish you make your mind up so at least you can be 50% less aggravated and I can be 50% happier. Fair?
Take my “artistically dishonest” criticism of the Swan lake program for example; I am referring specifically to the creative decisions not to make references to black swan or white swans when specific black/white music sections were being performed. It is basic 101. It IS Swan Lake! Black and White swans are integral part of the story. (Imagine skating to Carmen as a catholic school girl. You get me?) It seems obvious. You do white swan, you act like white swan, you skate to black swan you skate like a black swan. What is so hard to understand? To continue to ignore the obvious through lack of care is lazy and ignorant. It is artistic truancy which one simply don’t expect from the world’s bests. Can you honestly be surprised someone will have something negative to say? I don’t know where you come up with all the other stuff from that are completely unrelated to original point that was made. Sounds like you have some unresolved pend up feelings, I suggest you go and watch some more Mary Poppins to calm yourself down and do some singalongs ♫ One spoonful of sugar makes the medicine go down.. medicine go down- ohhh medicine go down~~
How fascinating. I intensely dislike Liza and consider Adelina far superior. Li Zijun is wonderful, and she's Chinese (a plus for my ethnic pride)! Mao's Bells to me was probably her 2nd or 3rd-best LP, and Liebestraume after Japanese Nationals 2010 was my least favorite (you can talk about Masquerade but at least she had her pristine spirals there).
Well we agree on a few things, disagree on some. Is it really that fascinating? Sounds normal to me. I still don’t know why anyone would ‘intensely dislike’ anyone. I am however definitely pro Liza, pro Julia among the Russians. Pro Mirai, pro Gracie, pro Karen Chen among the US ladies. I really like Zi Jun not because of her nationality or any ethnic pride (although I too share), but because I like the fact she is a lovely breath of fresh air among all the over hyped teenagers, who were being told to skate mature or act mature when they are clearly not. I personally think Julia has been treated most unfairly for being 13 and do what she can do. If she is from the US or Canada, she certainly would have been treated quite differently. I do love the fact Li was consistently under hyped, but actually got the goods and will earn her PCS through hard work and proven results instead of media/federation hype. She has a lot of work to be done still (see the fan thread I made for her), but I do hope she will follow the foot step of the greats including Yuna Kim, to consistently pushing herself no matter what and don’t take things for granted. I look forward to her progress. Hope nobody forces her to mature too quickly and she get to keep some of the unique qualities suited to her age.
. But I suppose we are getting off topic. Oh well, we will have to continue this lovely chat somewhere else.
