Subject: SRS in London
Last night I went to see the 8th visit of the SRS to London at the
Wembley
arena. Here are a few observations:
The performance was preceded by the entrance of the household cavalry
with
their drum horse, just to add to the spectacle (although their horses
are
not well schooled).
Then we saw the mares and foals - 8 of each were free schooled as a herd
around the arena for ten minutes or so. Every one was immaculate.
The foals were all born this spring, and presumably are due for weaning
shortly. Some were brown, some dark grey. One foal was very naughty and
kept charging ahead of the herd and going in all the wrong directions. I
don't envy the trainer who gets to take him on in later years.
Four riders then demonstrated the steps and movements of the classical
school. Arthur Kottas rode Favory Alea II, his brown stallion, who
seemed a
bit more settled now. I know this horse is particularly nervous, and
Arthur
was once unable to use him for an outdoor gala performance because he
couldn't cope with the obtrusive presence of the cameras. Klaus Krzisch
(chief rider) rode Siglavy Rindunica, rider Hoyos rode Siglavy
Montedora,
and Rider Harrer rode Neapolitano Nima II.
The work was a bit better choreographed than usual - normally it looks
like
separate trainers working individually without reference to the others.
This time they worked more as a team, and the overall
impression was better. The horses looked happy and very supple. The
riders
varied in their aiding, some more obtrusive than others. Kottas used his
legs quite noticeably in the tempi changes. Krzisch was more discreet.
The
performance was not flawless, you could find fault with some of the
pirouettes, for example. The piaffes and passages I thought were very
good,
and there was no hint of force.
The pas de deux was ridden by Kottas (Siglavy Plutona), and Eder
(Favory Alea III). A pleasing performance with good patterns, and both
riders well synchronized.
Six stallions were used for the work on the short hand rein. One horse
was
mounted but worked by a trainer on the ground. He was brought in slowly
at
a piaffe which crept forwards. When he arrived at the pillars the horse
was
worked in piaffe between the pillars throughout the whole of this
section
of the performance, with no apparent discomfort. It rather makes a
laughing
stock of the few steps demanded in dressage competitions.
The other horses showed levade, capriole, and courbette. A maximum of 4
courbette leaps was achieved. Some of the horses looked as if they were
rather hard to hold, but there were no escapees.
The long rein performance was given by Rider Hausberger with Conversano
Isabella. This was an impressive display, which just shows what a close
cooperation between horse and rider can achieve. I think they showed all
the work required of a grand prix horse, except for rein-back. The
aiding
was almost invisible, even for one-time changes.
The performance was not yet quite up to the confident display formerly
given by Norbert Tschaucher.
Five stallions were brought in for the ridden schools above the
ground (which they do without stirrups). Again they showed levade, in
which
the haunches were well lowered, in some cases with the hocks only a few
inches from the ground. One young stallion (9 years) was performing the
capriole with obvious enthusiasm, and obviously had a particular talent
for
this air. He was still a rather dark grey, and he had bandages on gis
front
legs (the others didn't). Again 4 leaps of courbette were shown.
Klaus Krzisch rode Siglavy mantua I in the solo ride, riding on the curb
only, with the whip held uprigt in the right hand. For me this was the
highlight of the evening. I very much admire this rider's work. I think
he
is probably the finest rider in the school at present. His aids are
almost
invisible.
Finally 8 riders performed the school quadrille, which is amazing to
observe because of the patterns they ride. The length of time those
horses
can remain in passage is very impressive.
Dr Oulehla came in on foot to take the final salute. Overall it was a
very
good show. It was a good reminder of how slowly horses can appear to
move
when they are properly collected. There was no rushing madly onward in
pursuit of "forwardness". There were occasional glitches where some
horses
obviously nearly got out of control (only for a fraction of a second),
and
had to be checked. The only major disobedience was from Conversano
Toscana
I (Kottas) who put in an unsolicited levade after the final salute when
the
horses were supposed to be walking around in like.
The horses were not shod.
No Maestoso stallions were shown.
Michael S.
Michael J. Stevens
mjs1@npl.co.uk
Subject: Re. Dressage - Bettina Drummond Clinic
I was able to audit a day of the recent Bettina Drummond clinic last
weekend. This will not be a very comprehensive clinic report, but
thought
I would share some general observations that I made.
She was wonderful. She seems to have more knowledge in her little
pinkie
than many of us ever hope to have. She would look at a horse and say
where
he appeared to be stiff, sore, or locked up and what the rider should
work
on to strengthen or loosen. Over and over through the day she did this
with horses of all levels and capabilities. She was very specific and
demonstrated an uncanny understanding of biomechanics.
She is a very understandable clinician. She is clear, concise, and
well-spoken.
She has a wonderful sense of humor and showed a very good mix of
supporting
and pushing with the riders. She doesn't hold back when she's got
something to say but it was always explained well.
One thing I really liked is her tendency to relate what she is seeing to
what she has experienced herself. It is not uncommon to hear statements
like "When I ran into this problem, I did this..." or "What I found with
my
brown horse...". For some reason, it seemed to give great credence to
everything she was saying.
She brought a photo album of her place and her horses and several of her
riding. Her place is incredible from the photos.
She injected the French and German terms for many of the training issues
that were seen through the day. She spoke of classical techniques but
never in a tone that was condescending to other styles. She mentioned
at
times, how you might approach something with classical riding in mind,
and
how you might approach it differently for modern day competitive riding.
Again, never demeaning anyone. In fact, I think she really doesn't
treat
them as two different things, but rather only slight variations that one
simply decides between at a given time. I found that very refreshing.
She did everything from in hand lessons, several longe line lessons,
riding
lessons, and also rode three horses. She rode two Andalusians, a mare
and
a gelding/son. They were beautiful horses no doubt, but I'm afraid they
didn't change the impression I have had with andy's. They were very
uptight, and very tense in the front end. She commented that they both
had
very nice backs but needed extensive work in the way they carried
themselves through the neck. The mare had been used extensively, and
apparently successfully, as a driving horse and had very little riding.
The owner wanted to make a riding horse of her. Bettina's conclusion
was
that it would be very hard to recover from the driving and re-make her
into
a good riding horse. She thought she would be okay for leisurely riding
but that it was probably kinder to leave her a driving mare at this
point
in her life for anything more than just playing with her.
She also rode an Arabian stallion who was also fairly tense. She found
him
to be pretty crafty as she put him through his paces. I can't remember
any
other comments on this horse.
It was really interesting to watch her ride. She doesn't speak at all
while she's riding, other than a few quiet noises to the horse. Her
seat
is dead quiet all the time. She appears to be staring at the horses
poll
the entire time, but if you really look at her eyes when she rides by, I
would describe it as if she's not really seeing at all, only feeling and
living it. If you have the opportunity to see her ride, or ride with
her,
do not pass it up. There is no doubt in my mind that you will feel it
is
money well spent. If she continues to come out here, I am definitely
going
to watch her every chance I get, and ride with her if I can possibly
manage
it.
By the way, does anyone have her mailing address in Connecticut? I have
something I want to send her.
Cindy in Dallas, Oregon
CSchmitt@open.org
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