[Removed][Translation] Sound Designer Keiichi Yano Interview: The World of Figure Skating (Part 1) and Ice Show Behind-the-scenes (Part 2)

[gladi]

(removed)

[Puniyo]

Thank you @gladi for the translation ^^

 

I had no idea that Seimei have had all those cuts and variations. I knew that Yuzuru had inserted his own breath in the first few seconds since there was a short scoop about it but I had never thought that the musical aspect of the program had been such a straining process. It definitely shows Yuzuru's dedication and commitment to it (he's a perfectionist after all) but also that of Yano's. Brian has once mentioned about striving for a 'total package' during the program (technique + SS) but the total package is so much more than - it includes the skater, the coaching team (on and off ice), the choreographer, the ones responsible for the music, the ones responsible for the costume, and so on that I have no idea who they are but that exist in this big picture. 

 

Looking forward to part 2, especially when it is such an insightful article ^^ 

[Fay]

It's just so interesting and exciting to see Yuzuru so involved into making his own music stand out. He's incredibly musical and perceptive to light and shade in music to be so finicky about his music sounded. Which explains one fact - I listened to Onmyoji OST and they sounded so different from the music Yuzuru had. Yuzuru's track sounded like a unit, not a compilation of different tracks.

[Katt]

Thank you @gladi for your translation again 

 

Its very interesting to know about a bit from their process to make a program. I couldn't imagine how many time they spend on music cut, especially its completely new music piece, never done before like Seimei and H&L. The timing, length for each elements, its must went through many adjustments. I used to edit music for some of my projects and to choose background music for a 2-3 mins video is basically a pain, let alone the editing part after that .  And this is the first time I know that they combine 2 track into 1 in Seimei. Amazing  I think both Seimei and H&L are programs that Yuzu and Shae Lyn put alot of efforts, thoughts into and its really mean so much to them

 

I'm looking forward to part 2 

[gladi]

First posted: https://wherespacepooh.tumblr.com/post/162748997764/behind-the-scenes-of-the-grand-ice-shows-according

 

In Part 2, Yano-san brings from behind the scenes in ice shows (1) the making of Machida’s prologue in Don Quixote, (2) Hanyu’s surprise collaboration with Fukuma-san on Ballade No.1, and (3) (again surprise...and last minute) collaboration with guitarist Takeo Konno in Parisienne Walkway on the final day of FaOI in Niigata. Together with Part 1, could alternatively be titled “the 20 times Hanyu-senshu was a bother (read: lovable brat) with his crazy ideas.” 

 

He also talks about (4) what the job entails and who would be a good fit (Daddy Mura makes an appearance!) and leaves us with (5) a heartfelt message regarding his thoughts on program choice and the treatment of music.

 

Translated by gladi. Feel free to repost text in entirety with source. Images belong to Getty Images (#1), Fantasy on Ice (#2, #3, #4, #5), and Keiichi Yano (#6).

 

Original source: https://victorysportsnews.com/articles/4508/original (July 08, 2017)

---

Behind the Scenes of the Grand Ice Shows according to Sound Designer Keiichi Yano (Part 2)

Various ice shows are held at ice rinks around the country during the off season before the full-scale FS season takes off. In addition to splendid performances delighting audiences, new programs for the following season are also revealed. To Yano-san, both as sound expert and as music editor, it is actually a busy time of the year. In this second round, he talks about episodes from such ice shows and his thoughts toward figure skating.

 

Text by Yamane Ito

Ice show and professional commitment

The pleasure of ice shows, after all, is to fully enjoy the performances of active (competing) skaters up close, and to reunite with each and every one of the very unique OBOG's who’d turned pro. With numbers that are somewhat different from competitive programs, there are also guests who perform live [in collaboration]. To Yano-san, it is a pleasant, if buzzing, time of the year.

 

A few months ago, Yano-san located the sounds of an orchestra tuning from his colossal files. After adding a couple of edits, he delivered it to his client. That is something [orchestras and ensembles] do before classical concerts, operas, and so forth. With the oboe as reference, instrumentalists play the “A” (la in sol-fa) in unison.

 

"Don Quixote," debuted at an ice show, started with exactly that tuning sound. At the rink doubling as stage, scarlet curtains were stretched across one side, with the spotlight illuminating the center impressively. As a distinctive air of tension settled, the curtains drew open to the left and right with a swoosh––finally––to the entrance of Tatsuki Machida. In a fashion that would never happen in competition, that was the prologue done in [Machida’s] way as a pro skater.

A surprise borne by a live performance

One of the real thrills of an ice show is its live music. From classical to pop, rock and jazz, artists from various genres collaborate with skaters on the ice. What is different from a normal concert is that cheers, screams, and claps would arise from the audience at spots that seem “improbable” to these artists. As we’ve learned previously [in part 1], Yano-san and the like in the acoustics side too, will adjust the volume to go with the jumps and spins.

 

In general, the classical music world is conservative, and the performers rarely tamper with the original scores. Although that is why it is so named “classical music,” enthusiastic fans of figure skating exist even amidst such a field. Kotaro Fukuma, for example. As a pianist of the international levels, he'd studied at the National Paris Conservatoire and the Berlin University of Art, winning the Cleveland International Piano Competition at the age of 20.

 

“Fukuma-san is so fond of figure skating, and in fact, even said he was interested in the work that I do. Seemed that he wants to introduce various pieces of music to the skaters."

 

Stories of classical instrumentalists taken aback by figure skating music are often heard. Conversely, many figure skating fans are shocked by the length of the actual pieces at concerts that assemble music used in the programs. For example, Hanyu-senshu’s “Ballade No. 1” that was just under three minutes [in program], is an ample 9 minutes-long.

 

“Fukuma-san synchronizes the skaters’ performance and the music in his head, creating a perfect fit."

 

It was from last year, but they staged a performance where Fukuma-san played the piano live to the “image” of Hanyu-senshu. The piece he played was Chopin’s Ballade No.1 in G Minor, but instead of the score, a monitor was placed in front of the piano. Fukuma-san, with Hanyu-senshu’s movements on screen as measure, gave a perfect performance of the program edit of “Ballade No. 1.” Moreover, all the while he kept to the tempo of Krystian Zimerman (source of the program edit), Fukuma incorporated his own distinctive nuance and emotions as well.

 

Actually, this wasn’t the first time that Fukuma-san performed “Ballade No. 1” at the rink. In the past, something happened on the ice during the show and they needed time to resurface the ice. To stall time, he played the piece. It was a nice touch, thanks to Fukuma-san’s wit. Hanyu-senshu learned of the episode, and at his request, they collaborated on a live performance of “Ballade No. 1” during the encore of the final day. That was how, in the end, [Fukuma-san] played the piece twice. 

 

“Hanyu-kun. That was quite a crazy, incredible thing he said! Although, since we are all professionals, we can do it if we want to. Well, we were really getting into the mood of things."

A guitarist’s pride

“Did you see the Niigata performance the other day? It’s Hanyu-kun again, but he asked me, ‘Yano-san, do you have the source for Pari-San?’”

 

Yano-san, eyes crinkled, already immune to Hanyu-senshu’s outrageous ideas and suggestions, said. Parisienne Walkway was the masterpiece of rock guitarist Gary Moore. Lovingly referred to as “Pari-San” by skating fans, it was a popular program that [Hanyu] also performed at the Sochi Olympics.

 

“There is a live guitarist this time, right? The guitarist in Anri-san’s band.”

 

For some reason, he understood what Hanyu-senshu was thinking. And after talking of many things, as expected, he “want[ed] to bring out the live guitar.” He said he wanted to collaborate on Pari-San on the very last day of the ice show. Just for that, it’s necessary to consult with the musician’s side. We also had to talk to the agency. Above all, it would be awful if it isn’t all conveyed through the show organizer.

 

“'If everyone is okay with it, I’ll also help.’ The organizer passed on my message to Hanyu-kun. Thereupon, I also heard news that guitarist Takeo Konno said he’d “honored.” But he wanted time to practice. Hurriedly, we began to rehearse the day before. With Hanyu-kun as well."

 

By rehearsal the next day (day of performance), we had yet to settle on the details including how to start.

 

“That morning, the thought suddenly came to me when I woke up. Given the precious opportunity to feature a live guitarist, instead of doing it like a bonus, we should show off the performer properly.”

 

He immediately went and talked to production. The scenario would be like this. Once Hanyu-senshu r****s from the stage to mop himself or something, a phrase from Pari-San abruptly wells up, as guitar solo. Cheers from the audience. He plays the melody once through as if to rouse the crowds. At the peak, Hanyu appears. Going on, and transitioning into the sound source of “Hoochie Coochie Man” in the second half. Guitar strums on as is, matched to the sound source.

 

The surprise was a great success. Even leaving on “Ballade No.1”’s costume felt somewhat fresh. "Hoochie Coochie Man” is a piece often done in jam sessions, so as a guitarist, Konno-san would probably be able to play it right away. So that was the arrangement, Yano-san smiled as he recounted.

 

“But he most likely practiced all night long, didn’t he? He was in completely different spirits compared to during rehearsal the day before!”

In search for a successor

I asked Yano-san about his own plans hereafter. It might come as a surprise, but he’s looking for a successor. He doesn’t know how long he can continue to do this work, but the competitive sport of figure skating will continue.

 

“People who have an interest in such work. Young people who like music. If someone would raise their hands to this, I think I would pass on the baton with pleasure.”

 

Pros in the field of audio engineering can undertake that part just fine. But the problem is in editing music for programs. Operationally speaking, it’s not hard as long as you don’t mind editing with a computer, or you are not bad at it. But, it’s impossible to keep up without a certain level of understanding about figure skating, love and inquisitive spirit toward music, and commitment. Taste is a requirement too.

 

“Out of nowhere, someone will say something like ‘choreography will start the day after tomorrow!’ Phone calls just before you are about to get on a plane for a business trip too."

 

On such occasions, time spent waiting at the airport or in-flight becomes a temporary workshop. At work on the plane ride from Narita (t/n: the airport) to Fukuoka, he has had to send data from his hotel after he lands too. He takes his PC along no matter where he goes.

“Because emails will suddenly arrive. During SEIMEI, when I was at Yatsugatake on a day off. From Machida-kun, it was when I traveled to Hateruma Island from Ishigaki Island (t/n: according to Google Maps, we’re talking about a two-hour trip). 

  
At such extent, this is vocational work that cannot be taken up unless you truly like it. Moreover, you must be methodical. Since you deal with a large quantity of data at once, it becomes a problem if you are careless or halfhearted about it. 
  
“I was thinking it would be nice if someone amongst the skaters would come up and inherit my craft. Although I say this as a joke, Mura Takahito-kun. He is interested in acoustics, and often comes and hangs out at the booth. So I told him, ‘Come succeed me!’" 

Message from Keiichi Yano 

“Although we are happy that, unlike in the past, many skating fans now come to watch live competitions and ice shows, if possible, it would be great if [you] could see the show from beginning to the very end. Leaving your seats and not returning until the time comes for your target skater to perform, and so forth. From our perspective, it really is a pity. This isn’t a complaint or a remonstration, but nonetheless I want the show to be seen in its entirety. It’s good to see the skaters’ personality shine through the music too, and in such a way, watch from one skater to the other and judge and compare.” 
  
Yano-san has many thoughts he’d like to convey, borne out of a long time spent supporting the world of figure skating. Not only towards the audience, but to skaters hereon and their coaches, everyone in the field. We publish his message here. 
  
“In recent years, there are more and more skaters who are committed and particular about music, but on many occasions, when deciding what to skate to, I think many skaters use the so-called “pieces they are given”––from coaches, parents, choreographers, and so forth. Because they spend at least a year skating to that music, I still hope they would be particular about program choice, with the thought of ‘[wanting] to express this piece' in mind. 
  
I think the essentials to figure skating are (1) skating boots (2) musical program and (3) costume. I hope they could seek out and absorb from many sources, and turning those into their own thing when approaching their own performances. Much of the music preexists, and even to the extent of not being influenced by the intention of the composer, I hope they could create “their own particular story." 
  
But, please still [respect | take care in the treatment of] the original music. Although it doesn’t matter to add a few sound effects because of the choreography, I hope people can do their best to avoid arrangements where you can somehow no longer tell what the original music was. I speak from the point of view that, still, we should cherish the thoughts of the composer at the time of composition. Finally, I hope that we can cherish our beginnings––what we thought, our original purpose, when we first started to like figure skating. 
 

---

Interviewee: Keiichi Yano


Sound Designer/ Music Editor-Programmer. Born in Fukuoka Prefecture in 1957. Started working as Audio Technician since 1975. In charge of audio at YAMAHA Tokyo branch in 1978. Currently works freelance as Figure Skating Sound and Audio Producer. 
  
Writer: Yamane Ito


Creative Director turned Copywriter/ Football Researcher. Published various sports-related books, mostly specializing in football, and one about figure skating––『フィギュアスケート・プログラムに秘められた物語』
 

[Hydroblade]

23 minutes ago, gladi said:

Yano-san, eyes crinkled, already immune to Hanyu-senshu’s outrageous ideas and suggestions, said.

This is a very interesting article, thank you! I knew about the 32 Seimei but I loved reading everything behind it. It amazes me, the amount of work that takes to craft such beautiful programs and what it means to work with Yuzu. 

[yuzuuu]

This is so interesting to read. I really love knowing all these background stuff  Thank you!

[Valkyria]

Thank you so much for the translation! I'm always up for learning more about what goes into producing FS programs, it really takes a village 

 

(And oh, Yuzu. No one can escape from his shenanigans )

[kaeryth]

Thank you so much for the translations! It's a very interesting read and sound designers should really get more love.

 

Thinking about it music edits can really make or break a program. I greatly appreciate Yuzu's dedication to the 'whole package' of FS. I want to thank Yuzu for using and introducing me to the Omnyoji Soundtrack. hehehe

 

I also love how Yuzu is able to push all these pros (pianist, guitarist, sound designer) into these scenarios and they just go with his whims.

This boy is becoming too powerful...

[Puniyo]

Wow, part 2 already up... thank you so much @gladi!

 

If this was from another skater, I might think that they were being picky and that their requests were too unreasonable, but with Yuzuru, I feel like these stories about live music during ice shows is more of a way to promote the musician and to give a moment for their instrument to really shine. For both ballade and PW (I like that Pari-san nickname ), more than Yuzuru skating on the ice, you get to listen and appreciate the arrangement live, which is something you will not find otherwise anywhere else. For sure Fukuma-san will not play a shortened version at a piano recital and Konno-san isn't the spotlight during Anri's performances in FaOI either. So these requests might actually be a way from Yuzuru to make sure these musicians are properly acknowledged (let's be honest, we appreciate music from programs or OST/BGM, but how many of us truly check the composer/singer whatsoever?)

 

And Yano-san mentioned Mura (jokingly) as a possible successor but now that I think of it, Yuzuru could very well also join the music industry as an editor and such. He has this innate musicality, perfectionism and diligence that would fit the job description and requirement quite well. And it would also be a working area related to FS, while allowing him to pursue his own interests. 

 

Finally, there is this short paragraph from Yano-san that I truly appreciate:

 

'Although it doesn’t matter to add a few sound effects because of the choreography, I hope people can do their best to avoid arrangements where you can somehow no longer tell what the original music was. I speak from the point of view that, still, we should cherish the thoughts of the composer at the time of composition.'   

 

As someone who like writing (not professionally unfortunately), we feel inspired and we are also influenced by certain authors and writing styles, but the ultimate goal one should strive for is to come up with our own style and hopefully be acknowledged for it. There is always a story behind the original piece and now matter how things are changed, the author's feelings should not be ignored, muddled or erased. So cherishing the 'thoughts of the composer' is really a matter of respect for all the hard work.  

[yuzuangel]

Thank you for this very informative and intricate translation!

[Neenah]

Thank you for the translation @gladi  

 

It was a very informative and fun article to read. I think it really shows how complex the process of creating a program is, and how many people are involved in the conception of the few minutes we get to see in competitions. It is also very interesting to me who is learning about the sport to hear from people other than the skater and their coaches about what happened behind the scenes.

[Maya]

On 7/8/2017 at 12:25 PM, gladi said:

First posted: https://wherespacepooh.tumblr.com/post/162748997764/behind-the-scenes-of-the-grand-ice-shows-according

 

In Part 2, Yano-san brings from behind the scenes in ice shows (1) the making of Machida’s prologue in Don Quixote, (2) Hanyu’s surprise collaboration with Fukuma-san on Ballade No.1, and (3) (again surprise...and last minute) collaboration with guitarist Takeo Konno in Parisienne Walkway on the final day of FaOI in Niigata. Together with Part 1, could alternatively be titled “the 20 times Hanyu-senshu was a bother (read: lovable brat) with his crazy ideas.” 

 

He also talks about (4) what the job entails and who would be a good fit (Daddy Mura makes an appearance!) and leaves us with (5) a heartfelt message regarding his thoughts on program choice and the treatment of music.

 

Translated by gladi. Feel free to repost text in entirety with source. Images belong to Getty Images (#1), Fantasy on Ice (#2, #3, #4, #5), and Keiichi Yano (#6).

 

Original source: https://victorysportsnews.com/articles/4508/original (July 08, 2017)

---

Behind the Scenes of the Grand Ice Shows according to Sound Designer Keiichi Yano (Part 2)

Various ice shows are held at ice rinks around the country during the off season before the full-scale FS season takes off. In addition to splendid performances delighting audiences, new programs for the following season are also revealed. To Yano-san, both as sound expert and as music editor, it is actually a busy time of the year. In this second round, he talks about episodes from such ice shows and his thoughts toward figure skating.

 

Text by Yamane Ito

Ice show and professional commitment

The pleasure of ice shows, after all, is to fully enjoy the performances of active (competing) skaters up close, and to reunite with each and every one of the very unique OBOG's who’d turned pro. With numbers that are somewhat different from competitive programs, there are also guests who perform live [in collaboration]. To Yano-san, it is a pleasant, if buzzing, time of the year.

 

A few months ago, Yano-san located the sounds of an orchestra tuning from his colossal files. After adding a couple of edits, he delivered it to his client. That is something [orchestras and ensembles] do before classical concerts, operas, and so forth. With the oboe as reference, instrumentalists play the “A” (la in sol-fa) in unison.

 

"Don Quixote," debuted at an ice show, started with exactly that tuning sound. At the rink doubling as stage, scarlet curtains were stretched across one side, with the spotlight illuminating the center impressively. As a distinctive air of tension settled, the curtains drew open to the left and right with a swoosh––finally––to the entrance of Tatsuki Machida. In a fashion that would never happen in competition, that was the prologue done in [Machida’s] way as a pro skater.

A surprise borne by a live performance

One of the real thrills of an ice show is its live music. From classical to pop, rock and jazz, artists from various genres collaborate with skaters on the ice. What is different from a normal concert is that cheers, screams, and claps would arise from the audience at spots that seem “improbable” to these artists. As we’ve learned previously [in part 1], Yano-san and the like in the acoustics side too, will adjust the volume to go with the jumps and spins.

 

In general, the classical music world is conservative, and the performers rarely tamper with the original scores. Although that is why it is so named “classical music,” enthusiastic fans of figure skating exist even amidst such a field. Kotaro Fukuma, for example. As a pianist of the international levels, he'd studied at the National Paris Conservatoire and the Berlin University of Art, winning the Cleveland International Piano Competition at the age of 20.

 

“Fukuma-san is so fond of figure skating, and in fact, even said he was interested in the work that I do. Seemed that he wants to introduce various pieces of music to the skaters."

 

Stories of classical instrumentalists taken aback by figure skating music are often heard. Conversely, many figure skating fans are shocked by the length of the actual pieces at concerts that assemble music used in the programs. For example, Hanyu-senshu’s “Ballade No. 1” that was just under three minutes [in program], is an ample 9 minutes-long.

 

“Fukuma-san synchronizes the skaters’ performance and the music in his head, creating a perfect fit."

 

It was from last year, but they staged a performance where Fukuma-san played the piano live to the “image” of Hanyu-senshu. The piece he played was Chopin’s Ballade No.1 in G Minor, but instead of the score, a monitor was placed in front of the piano. Fukuma-san, with Hanyu-senshu’s movements on screen as measure, gave a perfect performance of the program edit of “Ballade No. 1.” Moreover, all the while he kept to the tempo of Krystian Zimerman (source of the program edit), Fukuma incorporated his own distinctive nuance and emotions as well.

 

Actually, this wasn’t the first time that Fukuma-san performed “Ballade No. 1” at the rink. In the past, something happened on the ice during the show and they needed time to resurface the ice. To stall time, he played the piece. It was a nice touch, thanks to Fukuma-san’s wit. Hanyu-senshu learned of the episode, and at his request, they collaborated on a live performance of “Ballade No. 1” during the encore of the final day. That was how, in the end, [Fukuma-san] played the piece twice. 

 

“Hanyu-kun. That was quite a crazy, incredible thing he said! Although, since we are all professionals, we can do it if we want to. Well, we were really getting into the mood of things."

A guitarist’s pride

“Did you see the Niigata performance the other day? It’s Hanyu-kun again, but he asked me, ‘Yano-san, do you have the source for Pari-San?’”

 

Yano-san, eyes crinkled, already immune to Hanyu-senshu’s outrageous ideas and suggestions, said. Parisienne Walkway was the masterpiece of rock guitarist Gary Moore. Lovingly referred to as “Pari-San” by skating fans, it was a popular program that [Hanyu] also performed at the Sochi Olympics.

 

“There is a live guitarist this time, right? The guitarist in Anri-san’s band.”

 

For some reason, he understood what Hanyu-senshu was thinking. And after talking of many things, as expected, he “want[ed] to bring out the live guitar.” He said he wanted to collaborate on Pari-San on the very last day of the ice show. Just for that, it’s necessary to consult with the musician’s side. We also had to talk to the agency. Above all, it would be awful if it isn’t all conveyed through the show organizer.

 

“'If everyone is okay with it, I’ll also help.’ The organizer passed on my message to Hanyu-kun. Thereupon, I also heard news that guitarist Takeo Konno said he’d “honored.” But he wanted time to practice. Hurriedly, we began to rehearse the day before. With Hanyu-kun as well."

 

By rehearsal the next day (day of performance), we had yet to settle on the details including how to start.

 

“That morning, the thought suddenly came to me when I woke up. Given the precious opportunity to feature a live guitarist, instead of doing it like a bonus, we should show off the performer properly.”

 

He immediately went and talked to production. The scenario would be like this. Once Hanyu-senshu r****s from the stage to mop himself or something, a phrase from Pari-San abruptly wells up, as guitar solo. Cheers from the audience. He plays the melody once through as if to rouse the crowds. At the peak, Hanyu appears. Going on, and transitioning into the sound source of “Hoochie Coochie Man” in the second half. Guitar strums on as is, matched to the sound source.

 

The surprise was a great success. Even leaving on “Ballade No.1”’s costume felt somewhat fresh. "Hoochie Coochie Man” is a piece often done in jam sessions, so as a guitarist, Konno-san would probably be able to play it right away. So that was the arrangement, Yano-san smiled as he recounted.

 

“But he most likely practiced all night long, didn’t he? He was in completely different spirits compared to during rehearsal the day before!”

In search for a successor

I asked Yano-san about his own plans hereafter. It might come as a surprise, but he’s looking for a successor. He doesn’t know how long he can continue to do this work, but the competitive sport of figure skating will continue.

 

“People who have an interest in such work. Young people who like music. If someone would raise their hands to this, I think I would pass on the baton with pleasure.”

 

Pros in the field of audio engineering can undertake that part just fine. But the problem is in editing music for programs. Operationally speaking, it’s not hard as long as you don’t mind editing with a computer, or you are not bad at it. But, it’s impossible to keep up without a certain level of understanding about figure skating, love and inquisitive spirit toward music, and commitment. Taste is a requirement too.

 

“Out of nowhere, someone will say something like ‘choreography will start the day after tomorrow!’ Phone calls just before you are about to get on a plane for a business trip too."

 

On such occasions, time spent waiting at the airport or in-flight becomes a temporary workshop. At work on the plane ride from Narita (t/n: the airport) to Fukuoka, he has had to send data from his hotel after he lands too. He takes his PC along no matter where he goes.

“Because emails will suddenly arrive. During SEIMEI, when I was at Yatsugatake on a day off. From Machida-kun, it was when I traveled to Hateruma Island from Ishigaki Island (t/n: according to Google Maps, we’re talking about a two-hour trip). 

  
At such extent, this is vocational work that cannot be taken up unless you truly like it. Moreover, you must be methodical. Since you deal with a large quantity of data at once, it becomes a problem if you are careless or halfhearted about it. 
  
“I was thinking it would be nice if someone amongst the skaters would come up and inherit my craft. Although I say this as a joke, Mura Takahito-kun. He is interested in acoustics, and often comes and hangs out at the booth. So I told him, ‘Come succeed me!’" 

Message from Keiichi Yano 

“Although we are happy that, unlike in the past, many skating fans now come to watch live competitions and ice shows, if possible, it would be great if [you] could see the show from beginning to the very end. Leaving your seats and not returning until the time comes for your target skater to perform, and so forth. From our perspective, it really is a pity. This isn’t a complaint or a remonstration, but nonetheless I want the show to be seen in its entirety. It’s good to see the skaters’ personality shine through the music too, and in such a way, watch from one skater to the other and judge and compare.” 
  
Yano-san has many thoughts he’d like to convey, borne out of a long time spent supporting the world of figure skating. Not only towards the audience, but to skaters hereon and their coaches, everyone in the field. We publish his message here. 
  
“In recent years, there are more and more skaters who are committed and particular about music, but on many occasions, when deciding what to skate to, I think many skaters use the so-called “pieces they are given”––from coaches, parents, choreographers, and so forth. Because they spend at least a year skating to that music, I still hope they would be particular about program choice, with the thought of ‘[wanting] to express this piece' in mind. 
  
I think the essentials to figure skating are (1) skating boots (2) musical program and (3) costume. I hope they could seek out and absorb from many sources, and turning those into their own thing when approaching their own performances. Much of the music preexists, and even to the extent of not being influenced by the intention of the composer, I hope they could create “their own particular story." 
  
But, please still [respect | take care in the treatment of] the original music. Although it doesn’t matter to add a few sound effects because of the choreography, I hope people can do their best to avoid arrangements where you can somehow no longer tell what the original music was. I speak from the point of view that, still, we should cherish the thoughts of the composer at the time of composition. Finally, I hope that we can cherish our beginnings––what we thought, our original purpose, when we first started to like figure skating. 
 

---

Interviewee: Keiichi Yano


Sound Designer/ Music Editor-Programmer. Born in Fukuoka Prefecture in 1957. Started working as Audio Technician since 1975. In charge of audio at YAMAHA Tokyo branch in 1978. Currently works freelance as Figure Skating Sound and Audio Producer. 
  
Writer: Yamane Ito


Creative Director turned Copywriter/ Football Researcher. Published various sports-related books, mostly specializing in football, and one about figure skating––『フィギュアスケート・プログラムに秘められた物語』
 

Thanks for translating this article. It's interesting to know about these behind-the-scene work. I recently watched the film Onmyoji. Only at the very end where the film credits came up did threads of tunes sound familiar, but it's very different from Yuzu's Seimei soundtrack. I can imagine the work put into Semei. I wonder if Mr. Yano is the sound producer of CiONTU, which sounds fantastic.

[jinxxoo]

Thank you for the translation! Very cool to gain some insights into the behind the scenes workings of figure skating.