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macaroni-rascal · 3 years

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Waxing poetic idea: virtuosity

First of all, what a concept for a waxing poetic, we love the pun, we love it all. Second of all, I have no idea just how long this has been sitting in my inbox, but better late than never, I suppose!

When I think virtuosity I generally think about music, so for the purposes of this post, I am going to focus on how Virtue and Moir are masters of musicality, as I can make a separate post about their general talent and skating skills.

I truly believe that Tessa and Scott were (and continue to be) the most musically inclined ice dance team ever. It’s nothing new, but Paul MacIntosh their old coach has spoken before saying there as just something natural about them and their ear for music, Tracy Wilson commented on them as juniors and early in senior as a team that really listened to their music and that they used their edges and knee bend to match the rhythm of the dance, etc. It was obvious that this team just had a certain ability and flow that went above and beyond what had been previously seen in the sport.

They were ice dancing to music, not figure skating to background noise.

There was always an impression that music meant a lot to them, and the emotional connection they felt to music was very important, the program they hated the most (Malaguena) was because they didn’t chose it themselves, and the program they had the most trouble with emotionally (The Seasons) was because they also couldn’t form a connection and tried to force something. The stunning thing about Tessa and Scott’s skating is that nothing ever looks forced, it all seems to be placed and done to maximize their ability, the music, and the art of figure skating. So, cmplpete with hyperlinks as well as gif credit, lets get into it.

I say that Valse Triste is one of my favourite free dance of theirs, but I don’t think people get just how much. In terms of how much a song can be elevated by movement, VM did everything correct with Vale Triste.

This perfect moment in the beginning where the music is drawn out and sweeping and so their movements match perfectly, I just love the ina bauer moment right on that first long violin sound, followed by Tessa’s nice deep long edge and then another sweeping movement. Also, the last lift directly on the crescendo of the music, when Tessa raises her hands into the air when the silence holds, and then again, that lovely piece of silence while Tessa is balancing on Scott and his squat. Then the last moment with Scott’s arms and the violin again... All of this matches the music so well, it very much feels like they had this choreographed already, and then Jean Sibelius wrote Valse Triste for them. So stunning.

Umbrellas of Cherbourg was just a piece of mastery in terms of hitting musical highlights. The first lift was so effective, all the of the step sequences were musical and lilting and joyous. I also love the moment in this gif, the abandon in their movements echoes the abandon in the song as Catherine Deneuve sings “je ne peux pas, je ne peux pas” and it really does feel like they can’t help but move this way. I don’t need to understand French to feel it, they made the movement match the music so well that it becomes universal. Special shout out to the fucking stunning backwards inside edge they both hit as they go around the corner. *chefs kiss*

What I also love about their virtuosity and their musicality is that they never really settled. They picked a very difficult piece of music for the Olympic year because it was the only music they felt any connection with. It was a hard program because they really took time to highlight the music, and the accents are quick and staccato. What’s stunning, is that I think anyone who watches/knows vm can perfectly hear the music that should be playing over the gif, and nothing else COULD be playing. So often, especially recently, I watch ice dance programs if feels like any generic music could be on and it wouldn’t change much. Tessa and Scott could never. Every movement and every moment is deliberate and on theme.

Tessa and Scott’s dance holds are a literal thing of beauty and should be studied. That doesn’t have much to do with what I am writing about currently, but I thought it needed to be said. Nights and Days is an all time favourite programs. We love a wango. I love the opening especially and how they go from a nice easy arm movement to two quick poses, then Tessa’s moment with that leg and giving that face, that hit the opening notes so well, only to have the music really begin with their leg kicks.

Let’s talk about how a waltz goes counterclock wise on a dance floor and is quick-quick-slow and Tessa and Scott started their program going counter clock wise around the rink, and having their movement begin slow-quick quick, slow-quick quick...because I’m never not thinking about it

There are so many moments in their free dance to Hip Hip Chin Chin that I desperately love and that I have yet to see gifs of it. Besides the stellar and iconic opening footwork, the coolest twizzles (accenting the drums with their transition into each twizzle), and some very cool lifts (I mean, hello temptation lift), I love the step sequences and the transitions in this program so much. Some favs include:

Tessa’s booty pop to the drums and her arm on “rhythm”

Tossing Scott and a literal hip hip chin chin

Hitting twizzles and free legs on beat

Tessa just in this moment and her arms

The “I can’t resist” moment and the silence as they just pull in on beat, throw their hand up on beat, and hug on the ice sensually

That little kick they do in the step sequence right on the double beat

Anyway, that program is a fucking wonder and the fact they only did it once fully in competition is a small tragedy.

Tessa’s twizzle from the Waltz goes on right on that stunning lick of effervescent music lives rent free in my head and will until I die.

As does the extension and flair Tessa gets in this one small hand and arm movement. More character in this tiny little one second gif of carmen than in the entirety of Davis and White’s Notre-Damn that year, quote me.

Carmen, in and of itself, is so fascinating and intricate from a music standpoint, they hit all the moments so well. Tessa’s second leap into the air on the curve lift, the ending pose for the twizzles, that rad as hell and incredibly difficult transition where Scott all but throws Tessa face first into the ice and she lands in a sort of lunge that took all season to perfect. I could go on.

I truly am, one day, going to make a post about Dream a Little Dream and how it is the best short dance program ever performed. In terms of virtuosity it is unmatched. Again, it is that type of program where you can so easily hear the music playing the background because everything just...fits. I can hear Ella crooning “stars shining bright aboooove you” as Tessa rounds around Scott and his arms flow along with the melody. I also love the moment with “sycamore tree” and the transition there. Shout out also having the solo lady twizzle in the finnstep right on the boom of the music. There are too many moments to count. The whole program is magic.

Another special shout out to the latch step sequences and especially how they changed the diagonal step so that Tessa’s double twizzle hit right on the music and created such a moment. I also love the straight line lift and how with the changes made so it was timed perfectly to be in a moment of silence between lyrics. Tessa and Scott know how to use the moments of silence and stillness just as much as they know how to use the moments of intensity and attack.

Moment of appreciation for the guitar lick during the rumba where they kick in as they get that chocktaw key point before the inside 3-turns. Iconic behavior.

What I love is that they dig deep into their music, really listen, and really try and make their movements and their program not only match the music, but elevate the music to the point where you hear things you maybe didn’t before because it never got highlight in that way before.

I love that they aren’t afraid to not only hit the big, in your face “rooooxaNNE” moment, but it’s that they chose to put it at the end of their twizzle sequence which needs perfect timing, perfect synchronicity, and perfect attack. Not to mention, the amazing head-head moment with the violin right after. But then! It’s not just the end of the twizzle sequence, because they also accent the music every where in between because the first set is on beat to the music as is the second set which leads into their arm transition in character and then we get the big moment. With Tessa and Scott, their musicality is such that they create these little micro pockets of moments amidst one giant moment that is their full program; because the twizzles fit perfectly in the program, but the twizzles also stand alone as their own moment of tension and release -- just magnificent.

Off topic, but gosh it always amazes me just how fast they are going into and through this lift. As I’ve mentioned previously, it’s not just the big accents they are hitting, but the small ones as well. It took me half the season to realize there is a lovely little piano lick right as Tessa backflips and rises up into position, just as the music is rising along with her and once again, it just feels right. No other teams owns the ice and owns their music quite like them. Because it’s not just that they are so musical, its that they have the ability to skate to all of these different types of music, and look at home in every single one. In that, they are objectively unparalleled.

When Tessa and Scott skate, it almost feels like the music is asking them to create something, and is ultimately grateful for them doing so.

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