[2021.04.22] Number PLUS - FIGURE SKATING TRACE OF STARS 2020-2021

[yuzurujenn]

Info: https://www.amazon.co.jp/dp/B092ZDQWDQ/

 

Content:

FIGURE SKATING TRACE OF STARS: The Ice Rink of Determination.
Figure Skating 2020-2021 Season Highlights

 

[Detailed Report on the World Team Trophy]
Yuzuru Hanyu: "Illuminated by the Guiding Light"

 

[Determination Gained at the World Championships]
Yuzuru Hanyu: "Just One-Eighth More Drive"

 

[Speaking of Reunion After a Year]
Brian Orser: "The Magical Moment to Come"

 

[Innovation Explained by the Arranger]
Keiichi Yano: "A Unique Expression of Japanese Style"

 

Artists Talk About the Beauty of Yuzuru Hanyu's Past Programs
Shunji Iwai x "Hana wa Saku"
Reon Yuzuki x "Romeo and Juliet"
Daisuke Nagamine x "The Phantom of the Opera"
Satoshi Nakabachi x "Notte Stellata"

 

[Men's Power Map Explained by Takeshi Honda]
"Each Person's Strengths Revealed at the World Championships"

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

Source: FIGURE SKATING TRACE OF STARS 2020-2021, pg 28-31

 

Artists Talk About the Beauty of Yuzuru Hanyu's Past Programs

Shunji Iwai x "Hana wa Saku"

 

A skater who embodies strength, suppleness, and beauty through delicate movements that seem to carry awareness to the very tips of his fingers. Artists working in different fields are also captivated by the worldview he creates and the many exquisite programs that reach the realm of art.

 

“Thoughts that do not land, jumps that do land”

 

This March marked 10 years since the earthquake, and Yuzuru Hanyu performed “Hana wa Saku” (“Flowers Will Bloom”). What does the filmmaker who wrote its lyrics and has delivered numerous acclaimed works, think of the performance of fellow Sendai-born artist Yuzuru Hanyu?

 

Spoiler

— Please tell us about your first encounter with Yuzuru Hanyu.

 

“The first time I saw Hanyu-san, he was still a very young, slender boy, competing with Daisuke Takahashi. At that time, commentators were saying he tended to run out of stamina toward the second half of his programs. From there, he kept growing and growing, probably overcoming his stamina issues, and his subsequent rapid rise to success is well known to everyone.”

 

— The figure skating version of 'Hana wa Saku' was presented in 2014 as part of NHK’s Great East Japan Earthquake Project, two years after the original song you wrote the lyrics for was created.

 

“Hana wa Saku is a rather unusual song. Its premise is the Great East Japan Earthquake, and compared to that tragedy, what individuals can do is powerless and insignificant. With that as the fundamental premise, I think it's an effort to see if there's anything, however small, we can do. I was involved with that feeling myself, and I watched it thinking that Hanyu must have felt the same way.”

 

— Hanyu was a first-year high school student, 16 years old, when he experienced the disaster at the Sendai ice rink, which is also your hometown.

 

“He experienced the earthquake at a very sensitive and impressionable age, different from adults. Only he knows how strongly it has affected him, but I'm sure he's carrying some kind of burden, a weight he's carrying, and that's why he performs like that. The scenery Hanyu paints in his mind as he performs has a great tragedy lurking behind it, and even though it's through a television screen, I find myself watching with a sense of solemnity.”

 

— This year, marking 10 years since the earthquake, Hanyu performed 'Hana wa Saku' (Flowers Will Bloom) for the first time in a long time at the World Championships exhibition.

 

“I felt that it remains a significant matter for him. For me as well, over the span of ten years, there have been many things that made me reflect, and various memories came back. Especially in moments like the choreography involving flowers… there are many things that come to mind. What I feel most strongly is that I myself created lyrics and visuals as a form of ‘expression’ for this song, but when I confront it directly, there are moments when I simply feel at a loss. I imagine that Hanyu must find it very difficult to perform such a piece as well.”

 

— The 'Hana wa Saku' project consistently uses gerbera flowers as a symbolic motif, and Hanyu’s performance follows that as well. When you filmed the video clip in 2012, did you assign any special meaning to this flower?

 

“Simply put, I wanted to depict ‘flowers’ in a very simple way. I looked for something ordinary, something that wouldn’t evoke strong specific associations like carnations or roses. Eventually, I arrived at gerbera. At the time, I didn’t even know its flower meaning was ‘hope.’”

 

— There is an episode said to be the basis for the lyrics.

 

“During the earthquake, there were efforts on social media where people searched for each other’s whereabouts. I was also looking for friends myself. Amid all that, I came across a message from a girl who couldn’t find the boy she liked, but couldn’t say so openly, and wanted to search for him in a way that wouldn’t reveal it was her. In that tragic situation, and in a town that was also, for me, connected to something like a first-love experience, I initially felt a sense of despair. But then I thought, ‘Even in times like this, flowers still bloom.’ From that moment on, the phrase ‘Hana wa Saku’ (‘Flowers Will Bloom’) seemed to exist within me. So when I came to write the song a year later, the title naturally emerged.”

 

The "magical aura" that Hanyu himself possesses

— As someone whose hometown is in the disaster-stricken area, this project must have been extremely heavy in responsibility and very difficult, wasn’t it?

 

“The more I worked on it, the more I realized that what I put into words was only a small fragment, and it could never represent or express the entirety of the earthquake disaster. When faced with a disaster of such overwhelming scale in reality, there is no point of resolution, no landing point. Hanyu jumps, and when he does, he must land. But the theme of the music itself has no landing point. When I think about him performing under those circumstances, it really tugs at my heartstrings.”

 

— But you did face that theme head-on.

 

“At first, I didn’t know what to do. To be honest, I really didn’t know what to do, but I couldn’t refuse. It was also a difficult job to turn down, so once I was asked, I suppose I had no choice but to accept. But I didn’t know how to express it. That struggle, that was my honest feeling. On the other hand, I decided to focus on how to express that honestly, as it was.”

 

— How did you feel about the response to the completed 'Hana wa Saku'?

 

“Even now, I don’t really have a definitive answer, but seeing people hum and sing it, I felt that the song was needed in some way, that there were situations where it was of use. That gave me a little relief. Each person expresses things in their own way, even if only in small forms. Hanyu also expresses himself in his own way, on the ice rink. When I imagine the weight of tackling this theme, I think it must have been incredibly difficult.”

 

— The lyrics are said to have been written from the perspective of those who have passed away. In that context, what kind of presence did you see Hanyu as, when he performed this program?

 

“I’m not him, so if I’m allowed to interpret it freely as a viewer, dance has existed throughout history around the world as a form of requiem, and a way of connecting to the other side. I felt that he might be performing as an existence between life and death, treating the ice as the boundary between the living world and the world of the dead, and portraying someone who exists in that in-between space, someone who moves back and forth across it.”

 

— As a fellow creator, how do you view Yuzuru Hanyu as an “artist”?

 

“I think he is very conscious of being a performer. He captivates many people not only as an athlete. His way of expression feels like he is ‘in dialogue’ with the audience. At the same time, of course, he has to refine his skating itself. The elements of skating beautifully and accurately are essential. Since it is a sport that is judged by scores, that is unavoidable, but I feel like he is not confined only to that. I feel he is truly engaging in dialogue with the audience.”

 

— As a fellow artist, have you felt anything?

 

“In my case, I tend to be a rather inward-looking type of creator, so I find it very educational.  In terms of ‘dialogue,’ I felt something somewhat similar with Masaharu Fukuyama (laughs). He is also an outstanding artist with remarkable expressive power as a concertmaster. In Hanyu’s case, he doesn’t sing or speak; he expresses everything only with his body, like pantomime, and I think that is part of his charm. Through his skating, his spins, and all his various movements, people are drawn in and have their hearts captured, aren’t they? No one can quite explain why he is so wonderful, yet people are drawn in anyway. It feels like a kind of magic. In that sense, I think Hanyu himself carries something like a ‘magical aura.’”

 

 

 

"Flowers Will Bloom"
2014-2015 2020-2021 EX
Vocals: Fumiya Sashida Lyrics: Shunji Iwai
Composition & Arrangement: Yoko Kanno

Choreography: Nanami Abe

 

 

"A spring breeze carries the scent of the pure white snow-covered road
I feel nostalgic
I remember that town
There were dreams I wanted to fulfill
There was a part of me I wanted to change
Now I just feel nostalgic
I remember that person
I can hear someone's song
Someone is encouraging someone
I can see someone's smile
Beyond the sadness
Flowers, flowers, flowers bloom
For you who will one day be born
Flowers, flowers, flowers bloom
What have I left behind?"

 

 

 

Profile:

Shunji Iwai
Born January 24, 1963 in Miyagi Prefecture. In 1993, he won the Japan Film Directors Association New Director Award for "Fireworks, Should We See It from the Side or the Bottom?". In 1995, “Love Letter” became a major hit in Japan and abroad. In 2012, he produced the documentary “Friends after 3.11 Theatrical Version.” In 2020, he released “Last Letter.”

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

Source: FIGURE SKATING TRACE OF STARS 2020-2021, pg 32-33

 

Artists Talk About the Beauty of Yuzuru Hanyu's Past Programs

Reon Yuzuki x "Romeo and Juliet"

 

"The figure of Juliet appearing on the ice"

An immortal masterpiece he performed twice in his teens. Coincidentally, the acclaimed actress who twice played the lead role in the same work felt a unique worldview in Romeo on the ice.

 

Spoiler

In 2019, I had the opportunity to appear in an ice show, but even just moving forward on skates was truly difficult. Whenever I imagine how much practice and image training the skaters must accumulate before stepping onto the ice for their performances, it always deeply moves me. Just imagining them overcoming their anxieties and performing on stage fills me with immense respect. Even in moments of frustration, Yuzuru Hanyu confronts it and accepts it quickly, even immediately after his performance. I feel he is very mature, and I am inspired by him.

 

Before joining the Takarazuka Revue, I was aiming to become a ballerina and studied classical ballet, but when it came to competitions, I was crushed by pressure and could not perform at 100%, nor could I deliver a good performance. However, Hanyu consistently delivers wonderful performances at major events such as the Olympics, and even if there are falls in jumps, he recovers remarkably well. From his willingness to challenge himself repeatedly and the way he continues refining his performances, I feel a very strong mental resilience.

 

This is a program that Hanyu performed twice in the 2011–12 and 2013–14 seasons in the free skate. In its first version, he used a modern arrangement of a film soundtrack, but in Shakespeare’s original setting of the story, Romeo is said to be around 17 years old, which was the same age as Hanyu at the time. His dynamic performance, bursting with youthful energy, was striking. It is a role that may be somewhat difficult for a Japanese skater to portray, yet he fully embodied an intensely passionate but pure Romeo. Even at just 17, his concentration and immersion in the performance were extraordinary. In the second season he performed it, I felt a more delicately portrayed, tormented Romeo. Details such as the final posing conveyed a strong desire to further refine the program.

 

What both performances have in common is that, although there is no singing or spoken words, Romeo is clearly there. In fact, before joining the Takarazuka Revue, I also played Romeo in “Romeo and Juliet” twice, in 2010 and 2013. This story is one that moves audiences no matter what era it is performed in. In my first performance, it was a rock musical, and before the performance I even went to France, the setting of the work, to study it. I also referenced various international versions of “Romeo and Juliet,” as well as the film starring Olivia Hussey, to understand questions such as: what kind of feelings does a man have when thinking, “I want to meet her tomorrow,” and the emotions of Romeo, who is in despair thinking, “There is no one but her. If Juliet has been taken to heaven, then I too…” However, it is not only a tragedy; the characters are vividly alive. How to express a story in which only about five days pass from meeting to death was also important. With all of that in mind, I worked together with my fellow cast members to build the production.

 

Figure skating differs from stage performance in that one must perform a program alone on the ice. How to express its world is the key point. What surprised me about Hanyu is that, even though he performs alone, you can see Juliet in his performance. Of course, she does not actually exist, but his portrayal of Romeo makes you imagine what kind of Juliet he must have fallen in love with. This is true for both the 2011–12 and 2013–14 seasons. I felt the same in “The Phantom of the Opera,” where I could also see Christine. I believe this is not simply because he is performing the program, but because he values the narrative inherent in the music itself.

 

He's on a level that transcends even the word "expression"

 

I once received advice from a senior in Takarazuka: “While standing on stage under the lights with music playing, repeatedly imagine yourself performing well and enjoying the stage.” After I started putting that into practice, I became less afraid of failure. At the same time, I came to deeply realize that rehearsals directly lead to the actual performance, and that in performance itself, you can only do what you have rehearsed.

In the beginning, I focused all my energy on how I was being perceived and on trying to express the role as fully as possible. But with experience, that gradually became more natural and effortless. While I’m sure Hanyu also trains the technical elements such as jumps, spins, and steps, the world he creates feels as though it transcends even the concept of “expression,” reaching an entirely different dimension.

 

Both classical ballet and Takarazuka have very strong traditions, and like “Romeo and Juliet,” there are many works such as “The Rose of Versailles” and “Elisabeth” that are repeatedly revived. Group dances in black tailcoats are performed every show.

 

However, even when performing the same work, no two performances are ever exactly the same. There is certainly value in repetition, and I feel there is great meaning in the way truly outstanding works are passed down and kept alive through being performed again and again. I think this is also true of one of my favorite programs by Hanyu, "SEIMEI."

 

On the other hand, just like when I performed in the premiere of "Romeo and Juliet," sometimes encountering an unexpected role can make you realize new possibilities within yourself.

 

Many of the programs performed by Hanyu are truly beautiful. Someday, I would also like to see him perform a more masculine program than ever before, and see how he interprets it, how he incorporates it into his performance, and what kind of “expression” he will show.

 

 

 

2011-2012 FS

From the movie "Romeo + Juliet"
From the movie "Plunkett & MacLaine"
Composer: Craig Armstrong
Choreographer: Nanami Abe

 

2013-2014 FS

From the movie "Romeo and Juliet"
Composer: Nino Rota
Choreographer: David Wilson

 

 

Profile:

Reon Yuzuki
Born in Osaka Prefecture. In 1999, she joined the Takarazuka Revue and was assigned to the Star Troupe as an otokoyaku (female performer specializing in male roles). In 2009, she became the top star of the Star Troupe. She retired from the company in 2015 after performing in “Kurohyō no Gotoku” and “Dear DIAMOND!!”. She is currently active mainly in stage performances. She will appear in the ice show “LUXE”, to be held at Yokohama Arena from May 15–17.

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

Source: FIGURE SKATING TRACE OF STARS 2020-2021, pg 24-25

 

[Speaking of a Reunion After a Year]

Brian Orser: "The Magical Moment to Come"

 

Due to the closure of rinks during the COVID-19 pandemic and the subsequent strict restrictions, a year passed without him being able to return to his training base at the Cricket Club. His coach, who finally reunited with him at the World Championships, reflects on his protégé's growth.

 

Spoiler

— Was it emotional to see him again after a year?

 

“I was a little nervous before we met. Yuzuru had to change his flight because of an earthquake right before his departure. We still couldn't meet after he arrived because of quarantine, and we finally met at practice on the sub-rink on Monday afternoon. But Yuzuru has experience and isn't fazed by such mishaps, so he appeared on the rink looking cheerful.”

 

— What was your impression of the first practice?

 

“My first impression was that he's grown up and matured completely. His leg and glute muscles have developed, his core is stronger, and I thought his jumps were more powerful than before.”

 

— How was his condition on-site?

 

“The moment Yuzuru stepped onto the ice and began to skate, both Tracy Wilson and I exchanged glances and smiled. He started doing the same footwork drills he used to do every day at the Cricket Club, exactly as before. It was as if we had been training together in Toronto just yesterday. He was even careful about the details Tracy always nagged him about! His fundamentals were so solid that we knew he could do all his quadruple jumps.”

 

— Did you give him any advice?

 

“I spoke to Yuzuru right after practice started. I told him, 'We'll be watching closely from the rinkside, so we won't say anything. Just tell us if you need any advice.' Over the past year, I had been giving feedback by watching videos rather than correcting him after every jump, so it's best not to change the approach right before a competition.”

 

— His short program was a perfect performance.

 

“I wasn’t worried at all. It was exactly the kind of entertainment program that Yuzuru excels at. I was excited at the thought that I would finally be able to experience in person the excitement of the All-Japan Championships. Even though it was a competition without spectators, there were about 30 coaches and skaters in the arena, and it felt like a grand concert with loud applause.”

 

— He started in first place with 106.98 points.

 

“When I saw the score, my honest reaction was, ‘That’s a bit low.’ The Salchow landing was a bit shaky, but looking at the program as a whole, it was really a strong total package. So I can understand the GOE deductions, but I was expecting higher program component scores. Scores aren’t supposed to be affected by the crowd, of course, but if there had been a full audience there, the energy in the arena and Yuzuru’s performance would have played off each other, and the artistry would have come through even more clearly. I think the judges could have easily gone for 10s without hesitation.”

 

— The All-Japan Championships were very exciting.

 

“But there were only half the usual spectators. What I’m really looking forward to is the end of this pandemic, when 18,000 entertainment-starved fans erupt in cheers, a roaring wave that shakes the arena. I know that moment will come eventually. Yuzuru’s program component scores are not limited to this level.”

— Before his free program, something seemed different than usual.

 

“Honestly, I don't know what happened. He was supposed to start warming up exactly an hour ago, but he didn't show up when I waited in the warm-up area. (Cha) Jun-hwan and Jason (Brown) were in the group right before him, so I went to their six-minute practice, and then ran back, but Yuzuru still wasn't there, and I was starting to get worried. I asked the Japanese team leader, and he said he was 'somewhere else,' so I figured he was warming up somewhere out of the TV cameras.

 

After Junhwan, who was skating fifth, finished, I ran to the locker room. Normally, just before the six-minute warm-up, he would sit on the bench in the locker room and put on his skates, and I would receive the tissue box and we would go to the rink together—that was our routine. But he wasn’t there. When I rushed back to the warm-up area, I found him putting on his skates on a chair that had been placed there. I was relieved to have found him, but at the same time I sensed something was wrong. Someone who values routine like him wouldn’t act like this. I didn’t ask, ‘Why were you late?’ I decided to act cheerful and said, ‘Alright, let’s go,’ and behaved as usual.”

 

— How were the jumps in the first half of the performance?

 

“The first quadruple loop had very good approach and takeoff timing. At the moment he jumped, I expected a beautiful loop. But he slightly delayed tightening his body in the air, and his axis tilted, which surprised me. It was a jump I hadn’t seen in the past week. The following Salchow also seemed to lack a stable axis.”

 

— Is it difficult to regain rotational axis during a program?

 

“It’s a sensory thing. If you try to think your way to it, you lose it. In a loop, you take off and land on the right foot, so if you jump straight up, you can find your axis. That’s why many skaters use loops in warm-ups. But in this case, his axis was off in the quad loop, so he probably started thinking, ‘Where is my center? More to the right? More to the left?’ If you don’t think about it, your body remembers, but once you start searching for it, you lose it. And Yuzuru ended up searching for his axis throughout the entire competition.”

 

— Still, he landed the second-half quad toe loop and won the bronze medal.

 

“I really think he did well. Yuzuru couldn’t travel to Canada and had to train on his own. He didn’t have a coach by his side for a full year. Has there ever been an athlete like that? Under such extraordinary circumstances, he still won the bronze medal. More than the success or failure of his jumps, please look at the skater Yuzuru showed across both programs. He was magnificent and brilliant. At least to me, it was a story of success.”

 

— For next season, his goal is the quadruple Axel. He is reportedly close to landing it within an eighth of a rotation.

 

“One-eighth! That's closer to success than when we practiced together last season. I have some advice regarding the quadruple Axel, but first, Yuzuru is experimenting on his own, so I'll just watch over him.”

 

— What is the plan for next season leading into the Olympics?

 

“Currently, Canada’s borders are not open to foreign nationals, and we are strongly requesting special exemptions from the government for top athletes. Looking ahead to the Olympics, I want to provide the best possible training environment for Yuzuru and everyone at the club. Peaking for the Olympics, physical conditioning, recovery, technique, programs—doing all of that alone for a full year is extremely difficult. In Yuzuru’s case, I think a split between Sendai and Toronto would be fine, but ideally it would be a situation where we can meet whenever necessary.”

 

— Once again, the athletes did a great job getting through this season amidst the COVID-19 pandemic.

 

“Ideally, I shouldn't comment on COVID-19, so please allow me to speak from my personal perspective, not as a coach. This year's competition was heavily influenced by the circumstances of each country. Russia had no restrictions, practice sessions were held, and many competitions took place. The United States also had very few restrictions, allowing for practice and competitions to be held. Canada had very strict restrictions in place, and although the Cricket Club reopened after a three-month closure, only 15 out of 350 members were able to skate. There were no competitions either. Japan and South Korea had restrictions on practice time. But Yuzuru, and the skaters from Canada and South Korea, didn't complain at all. I'm sure that the personal growth they've experienced this season will definitely show next season. That is why I am truly proud of Yuzuru’s bronze medal. His eyes were burning with determination. And that’s why I’m also excited, together with him, for the ‘magical moment’ next season.”

 

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

Source: FIGURE SKATING TRACE OF STARS 2020-2021, pg 26-27

 

[Innovation Explained by the Arranger]

Keiichi Yano: "A Unique Expression of Japanese Style"

 

“A unique expression of Japanese aesthetics”

 

The pursuit of a new expression of “wa” (Japanese aesthetics) began with “SEIMEI,” the iconic program that has become synonymous with Yuzuru Hanyu. The arranger who supports the creation of the music spoke about the intentions behind this season's "Ten to Chi to" (Heaven and Earth) and shares his vision for the “completed form” he hopes to see realized in the coming season.

 

Spoiler

— Yuzuru Hanyu’s free skate this season, Heaven and Earth (Ten to Chi to), felt like a program that could become a new legend. It is his second “Japanese-style” program following SEIMEI, but it leaves quite a different impression.

 

“When Yuzu asked me to edit 'Ten to Chi to,' what he wanted was to connect the two main themes from the NHK Taiga dramas 'Ten to Chi to' and 'Shin Heike Monogatari.' With SEIMEI, the music came from various scenes in the film, with only one main theme, so the approach to editing was very different. At first, I wondered what would happen if I combined two main themes by the same composer. Would it work? Would it be okay?”

 

— In women’s skating there have been Japanese-themed pieces such as 'SAYURI' and 'Madama Butterfly,' and Hanyu himself has used music by MONKEY MAJIK and the Yoshida Brothers. However, the use of purely traditional Japanese instruments such as the flute, koto, and biwa felt like a new challenge for the skating world.

 

“Compared to this time, SEIMEI was very much a process of feeling our way in the dark. The only things I was told at the beginning were, ‘I want the sound of a flute included,’ and ‘I want to use the main theme.’ First, in order to make it work as a piece of music, I came up with a structure: start quietly, build to a climax, let it settle once, gradually build again, and finish with the main theme. I listened to two CDs' worth of music over and over, connecting sections that seemed promising, listening to them, then deciding against them and starting over again. It was a constant cycle of trying things and abandoning them. In the end, I combined seven different tracks.”

 

— During the editing stage of 'SEIMEI,' what kind of “Japanese” performance were you imagining?

 

“The arrangement is done before the choreography, so although I tried to imagine Hanyu skating to it, I really had no idea. I kept wondering, ‘Is he really going to skate to a Japanese-style piece like this?’ I remember seeing it for the first time at 'Dream on Ice' and thinking, ‘Ah, so this is how he expresses “Japanese” music. At the premiere, his opening pose involved placing a finger to his lips. I think the fans interpreted it as Yuzu saying ‘Shhh,’ because everyone suddenly fell silent. Then, the moment they heard the sound of the ryūteki, a gagaku instrument, I could hear people gasp, ‘Eh?’”

 

— I don’t think anyone had ever used gagaku instruments before. On the other hand, 'Ten to Chi to' this season is centered on the biwa and koto.

 

“This time, Hanyu-kun said, ‘I want the biwa to be the main instrument, and I also want the koto included.’ Among Japanese instruments, the biwa gives an impression of strength, while the koto has a beautiful, elegant tone. Personally, I felt that the koto's beautiful sound suited Hanyu-kun perfectly, so when I created the very first demo, I began with the koto section from 'Shin Heike Monogatari.' But Hanyu-kun wanted to start with the power of the biwa, so he requested to use 'Ten to Chi to' (Heaven and Earth) first.”

 

— So the performance begins with the powerful sound of the biwa.

 

“It makes sense, really, because the program opens with a quadruple jump. It's a moment that showcases the strength within his unique personality. Then, during the step sequence and spins, the sound of the koto creates a more brilliant, elegant atmosphere, and finally the program is brought to a close once again with the powerful sound of the biwa. I think Hanyu-kun requested this arrangement precisely because he himself understands and senses the inherent character of these instruments.”

 

— The original 'Ten to Chi to' is centered on the biwa. The fact that he specifically requested 'Shin Heike Monogatari' as well, does that mean Hanyu was equally drawn to the appeal of the koto's sound?

 

“I think so. The koto used in the 'Shin Heike Monogatari' recording is actually a 25-string sō (koto). It begins with fairly low notes and then connects all the way up to the higher register, but notes that low simply can't be produced on a standard 13-string instrument. And during my discussions with Hanyu-kun, one thing he felt very strongly about was the editing of the koto section beginning at the 2:40 mark. He said, ‘I want to emphasize only the sound of the koto being vigorously strummed.’

 

However, it was difficult to layer only the strumming sounds. Even when I tried emphasizing just the high notes, it didn’t really change the impression. As I listened to it over and over again, struggling with it, a melody began to form in my mind. I thought, ‘At this point, rather than focusing on the strumming, it would be better to layer a scale.’ So, from 2:40 to 2:56, I overlaid an ascending scale-like melody on the harp. I also added a strong “da-daan” strumming sound at the very end. When I asked, “Maybe it would be better not to add so many changes?”, Hanyu replied, “This is good!”

 

— This is the climactic section featuring the quadruple toe loop–Euler–triple Salchow combination.

 

“Hanyu builds up the excitement with this strumming sound, and then executes his jump precisely at the final moment. When I first saw it at the All-Japan Championships, I thought, ‘Ah, so this is the spot.’ Since it comes right before such an important jump, he must have been very particular about it. I’m really glad he succeeded with it at this World Championships as well. It’s a key scoring element in the second half of his program.”

 

— By skillfully layering the sounds of the biwa, koto, and harp, it felt as though you were able to expand the musicality while preserving the essence of wa (Japanese aesthetics) without breaking it.

 

“I had previously worked with traditional Japanese music through concerts and other professional projects, so I had at least some knowledge of the beauty of Japanese melodies and traditional instruments. That's why when Hanyu-kun asked me to work on 'SEIMEI,' I was glad I had studied traditional Japanese instruments. I also assist a performer named Eri Nosaka, who plays the 25-string koto. Through her, I learned things such as the differences between the koto and the sō as well.”

 

— Hanyu has said he wants to continue using 'Ten to Chi to' next season and include the quadruple Axel.

 

“I was truly grateful to hear that. It was a great honor. There were few competitions this season, and he is the kind of skater who treasures each program, so I thought he would continue to refine and nurture it toward the Beijing Olympics.”

 

— Is there a possibility that the arrangement could be changed to accommodate the quadruple Axel?

 

“He probably won't change the musical structure of a piece once it's finished. It was the same with 'SEIMEI.' After his perfect performances at the NHK Trophy in Nagano and the Grand Prix Final in the 2015–16 season, I felt that it had already reached its completed form. Then, two seasons later, when he said he wanted to use 'SEIMEI' for the PyeongChang Olympics, I was very happy. So I asked him, ‘How will you change the structure or the music?’ and he said, ‘The music is fine as it is.’”

 

— So musically speaking, it had already reached completion.

 

“On the day of the exhibition gala at the All-Japan Championships, he came up to me, and I asked him, ‘How did it feel to skate?’ He said, ‘It really helped me. I was able to skate very comfortably. It was perfect.’ Because he internalizes the music in his body and jumps with it, I think he’ll just continue refining and skating it in as it is.”

 

— So, would that mean the world's first quadruple Axel will be placed in the section where the quadruple loop is currently placed?

 

“Here, the music remains relatively steady during the approach, then shifts in tone at the moment of landing, and after that he turns around and strikes a pose to the ‘pa-baan’ sound. The editing really emphasizes the unity between the jump and the music, so even with a quadruple Axel, he’ll still jump in time with the music. However, the ‘moment’ before takeoff is different between the Axel and the loop, so I think he’ll adjust that himself. If he ever finds that a difference of even 0.1 seconds in takeoff timing makes it feel just right, he might request a change (laughs).”

 

— Landing a quadruple Axel alone would be extraordinary, but perhaps integrating it seamlessly with the music would bring Hanyu even closer to the final form he envisions.

 

“When a skater performs in complete unity with the music, the impression of the music itself can change, and there are times when you suddenly realize anew, ‘Wow, so this is what this piece was really like, it’s such a good piece.’ In Hanyu’s case as well, the overall choreography, the design and colors of his costume, everything that you see matches the atmosphere of the music. For Hanyu, a performance that becomes one with the music is the ideal form, and if he were to achieve that ideal form while also including a quadruple Axel… He would transform 'Ten to Chi to' (Heaven and Earth) into something greater than what it originally possessed, and bring out an entirely different kind of appeal. I’m really looking forward to that day.”

 

 

Profile:

Born in 1957 in Fukuoka Prefecture, Japan. Sound designer and music editing programmer. He has worked as a sound engineer since 1977. Since 1985, he has been involved in figure skating, and currently works as a freelancer, handling figure skating audio production and creating program music for many skaters, including Yuzuru Hanyu.

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

Source: FIGURE SKATING TRACE OF STARS 2020-2021, pg 18-23

 

[The Determination Gained at the World Championships]

Yuzuru Hanyu: "Just One-Eighth More Momentum"

 

Following the All Japan Championships, this was his second competition of the season, and he faced the grand stage of the World Championships. He led after the short program, but a slight lapse in form led to a bronze medal. Even so, what he discovered through that experience was a renewed, burning desire to realize his dream.

 

Spoiler

How much time had passed since the performance ended? Yuzuru Hanyu appeared at the mixed zone and, as usual, responded to journalists’ questions with careful, polite answers. His tone was calm. At times, he was so remarkably composed that it hardly felt like he had just come off competition... a calmness that seemed to extend endlessly.

 

Within that calmness, there was first a sense of relief, and beneath it, a quietly held passion. There was also, somehow, a faint sense of brightness.

 

The 2020–2021 World Championships became an unprecedented event.

 

The previous season had been cancelled due to the COVID-19 pandemic, making this the first time the event was held in two years. The venue was Stockholm, Sweden. Even though it was held, it could not escape the impact of COVID-19. The competition took place without spectators, and athletes had to undergo hotel quarantine upon arrival, spending the entire event in a so-called “bubble” format.

 

Hanyu was among them. About three months after the All-Japan Championships, he arrived at the event having trained entirely on his own, without his coach who would normally be by his side.

 

Arriving in Stockholm on March 21, Hanyu went through official practice and then took to the ice for the short program on the 25th.

 

The music was “Let Me Entertain You.” His performance was the very embodiment of “magnificent.” From his arms crossed and a determined expression at the start, to the pointing gesture… the choreography seemed to draw the audience in, filled with such splendor that it made you forget there were no spectators, while the cheers of the volunteers watching from the stands added to the atmosphere.

 

At the All-Japan Championships, one of his spins had been invalidated. That issue was carefully corrected here, and he finished with a flawless performance. His score was 106.98 points. It was a skate so strong that it would not have been surprising if he had surpassed his own world record in the short program.

 

“I personally felt this song very deeply, and I try to express its energy and everything it carries through my arms, my skating, my jumps, my whole body. I think that’s what makes this program so appealing. There are many movements that connect directly with the audience, so I think that’s also part of its charm.”

 

With a performance that embodied those post-competition words, he finished the short program in first place.

 

Two days later, he took to the ice for the free skate. The program was “Heaven and Earth,” which he had delivered so brilliantly at the All-Japan Championships.

 

The program opened with a quadruple loop, but he lost his balance on the landing and put a hand down on the ice. The subsequent quadruple Salchow was landed, but he stumbled on the landing and had to fight to regain control. Later, his first planned triple Axel in combination was also disrupted on the landing, turning it into a solo jump. In the second half, he made a determined effort to recover, but the second triple Axel was again not clean, and he was unable to make up for the earlier mistake. This also became a repeated solo jump, resulting in a reduction of its base value.

 

Even after finishing, he remained composed and fully focused, a quality characteristic of a top-tier skater. However, his score was 182.20 points. With a combined total of 289.18 points from the short program, he finished third overall, behind winner Nathan Chen and second-place Yuma Kagiyama.

 

It wasn't his usual skating. Given his ability, this was not a performance where he was able to fully demonstrate what he was capable of.

 

On the day of the free skate, Hanyu seemed different than usual even before his performance. For example, while sitting in a chair waiting to skate, he was wearing a mask, his eyes closed, and sweating; he appeared fatigued.

 

Reports circulated that he had an asthma attack. The day after the competition, he was asked about it by reporters.

 

“I think I may have felt a slight asthma attack after the free skate. But when it was all over, it was more like I just felt a bit unwell.”

 

He continued:

 

“There were small issues that kept happening one after another. During the six-minute warm-up I didn’t feel much impact, but in the end I think even the slightest crack in my balance led to everything falling apart.”

 

In later comments, he repeatedly said, “My condition is fine.” It likely wasn’t something he felt strongly inclined to emphasize.

 

Including those exchanges, what remained in him after the performance was, aside from the brief moment of looking up into the air right after his skate and a fleeting trace of frustration as he left the kiss-and-cry, a kind of stillness.

 

Reflecting on the free skate, he also said:

 

“While my balance kept gradually falling apart, I think I wasn’t able to maintain my axis properly or keep my sense of equilibrium until the end. But I don’t think it was a major issue—rather, it was just a series of very small breakdowns.”

 

His tone was also notably calm. It stood in stark contrast to his words two years earlier at the World Championships, when he had said with fighting spirit, “I just want to get stronger. For that, I just have to train. Not just ordinary training—I feel I need to really take on many different challenges.”

 

That difference was understandable. Part of the reason lay in the very different circumstances of the competition.

 

“I was basically giving it everything I had. I didn’t even attempt the other jumps.”

 

At the All Japan Championships, he spoke about his mindset going into the event:

 

“There are definitely people who are suffering more than us, and there are those who couldn’t even say goodbye to loved ones. I think there are many people forced into work where they can’t see what’s ahead, where everything feels dark. I do feel a bit of guilt, but if my participation can become even a small source of energy or a trigger for someone to feel differently, then that would mean a lot to me.”

 

Yuzuru Hanyu

Born December 7, 1994, in Miyagi Prefecture. He won back-to-back Olympic gold medals at the 2014 Sochi and 2018 PyeongChang Games. He also won the Grand Prix Final four consecutive times from 2013 to 2016. He became World Champion in 2014 and 2017. In February last year, he won the Four Continents Championships, achieving the first-ever “Super Slam” in men’s figure skating. In this season’s All Japan Championships, he claimed his fifth title, his first in five years. Height: 172 cm.

Coaches: Brian Orser, Tracy Wilson, Ghislain Briand
Choreographers: Jeffrey Buttle (SP), Shae-Lynn Bourne (FS)
Programs this season: “Let Me Entertain You” (SP), “Heaven and Earth” (FS)
Personal best scores: 322.59 (total), 111.82 (SP), 212.99 (FS)