Year |
Men |
Women |
1891 |
Oskar Uhlig* |
(not held) |
1892 |
Eduard Engelmann Jr.* |
(not held) |
1893 |
Eduard Engelmann Jr.* |
(not held) |
1894 |
Eduard Engelmann Jr.* |
(not held) |
1895 |
Tibor von Földváry* |
(not held) |
1898 |
Ulrich Salchow* |
(not held) |
1899 |
Ulrich Salchow* |
(not held) |
1900 |
Ulrich Salchow* |
(not held) |
1901 |
Gustav Hügel* |
(not held) |
1904 |
Ulrich Salchow* |
(not held) |
1905 |
Max Bohatsch* |
(not held) |
1906 |
Ulrich Salchow* |
(not held) |
1907 |
Ulrich Salchow* |
(not held) |
1908 |
Ernst Herz* |
(not held) |
1909 |
Ulrich Salchow* |
(not held) |
1910 |
Ulrich Salchow* |
(not held) |
1911 |
Per Thorén* |
(not held) |
1912 |
Gösta Sandahl* |
(not held) |
1913 |
Ulrich Salchow* |
(not held) |
1914 |
Fritz Kachler* |
(not held) |
1922 |
Willy Böckl* |
(not held) |
1923 |
Willy Böckl* |
(not held) |
1924 |
Fritz Kachler* |
(not held) |
1925 |
Willy Böckl* |
(not held) |
1926 |
Otto Preißecker |
(not held) |
1927 |
Willy Böckl* |
(not held) |
1928 |
Willy Böckl* |
(not held) |
1929 |
Karl Schäfer* |
(not held) |
1930 |
Karl Schäfer* |
Fritzi Burger* |
1931 |
Karl Schäfer* |
Sonja Henie* |
1932 |
Karl Schäfer* |
Sonja Henie* |
1933 |
Karl Schäfer* |
Sonja Henie* |
1934 |
Karl Schäfer* |
Sonja Henie* |
1935 |
Karl Schäfer* |
Sonja Henie* |
1936 |
Karl Schäfer* |
Sonja Henie* |
1937 |
Felix Kaspar* |
Cecilia Colledge* |
1938 |
Henry Graham Sharp |
Cecilia Colledge* |
1939 |
Henry Graham Sharp* |
Megan Taylor |
1947 |
Hans Gerschwiler* |
Barbara Ann Scott* |
1948 |
Dick Button* |
Barbara Ann Scott* |
1949 |
Edi Rada* |
Eva Pawlik* |
1950 |
Ede Király |
Ája Zanová* |
1951 |
Horst Faber |
Jeannette Altwegg* |
1952 |
Hellmut Seibt* |
Jeannette Altwegg* |
1953 |
Carlo Fassi* |
Valda Osborn* |
1954 |
Carlo Fassi* |
Gundi Busch* |
1955 |
Alain Giletti* |
Yvonne Sugden |
1956 |
Alain Giletti* |
Ingrid Wendl* |
1957 |
Alain Giletti* |
Ingrid Wendl |
1958 |
Karol Divín* |
Ingrid Wendl* |
1959 |
Karol Divín* |
Hanna Walter* |
1960 |
Alain Giletti* |
Sjoukje Dijkstra* |
1961 |
Alain Giletti* |
Sjoukje Dijkstra* |
1962 |
Karol Divín |
Sjoukje Dijkstra* |
1963 |
Alain Calmat* |
Sjoukje Dijkstra* |
1964 |
Alain Calmat* |
Sjoukje Dijkstra* |
1965 |
Emmerich Danzer* |
Regine Heitzer* |
1966 |
Wolfgang Schwarz |
Regine Heitzer* |
1967 |
Emmerich Danzer* |
Gaby Seyfert* |
1968 |
Emmerich Danzer* |
Hana Mašková* |
1969 |
Ondrej Nepela* |
Trixi Schuba |
1970 |
Ondrej Nepela* |
Trixi Schuba |
1971 |
Ondrej Nepela* |
Trixi Schuba* |
1972 |
Ondrej Nepela* |
Trixi Schuba* |
1973 |
Ondrej Nepela* |
Karin Iten |
1974 |
Sergei Volkov |
Karin Iten |
1975 |
Sergei Volkov |
Karin Iten |
1976 |
Vladimir Kovalev |
Isabel de Navarre |
1977 |
Vladimir Kovalev |
Anett Pötzsch* |
1978 |
Vladimir Kovalev |
Anett Pötzsch* |
1979 |
Vladimir Kovalev |
Anett Pötzsch* |
1980 |
Vladimir Kovalev |
Anett Pötzsch* |
1981 |
Jean-Christophe Simond |
Claudia Kristofics-Binder |
1982 |
Jean-Christophe Simond |
Claudia Kristofics-Binder |
1983 |
Jean-Christophe Simond |
Elena Vodorezova |
1984 |
Jean-Christophe Simond |
Elena Vodorezova |
1985 |
Fernand Fédronic |
Katarina Witt* |
1986 |
Jozef Sabovčík* |
Kira Ivanova |
1987 |
Alexandr Fadeev* |
Kira Ivanova |
1988 |
Alexandr Fadeev* |
Kira Ivanova |
1989 |
Richard Zander |
Claudia Leistner* |
1990 |
Richard Zander |
Natalia Lebedeva |
Discover The History Of Figure Skating!
The Best Figures Skaters In Europe
Dancing In The Dark
#Unearthed: Mr. Pattin's Penchant
"MR. PATTIN'S PENCHANT - A SILHOUETTE ON THE ICE" (C.J. KIRKBY FENTON)
Mr. Pattin was a skating enthusiast; not of the young and inexperienced type, hut one of the many middle-aged experts. Regularly every winter he was to be found in the Low Countries with his skates and his friend Lucas.
Yet it was Mr. Pattin who came home after a day's skating, and swore deeply. He hurled his skates - yes, his beautiful, gleaming, Dowler-bladed skates, that he had cleaned and oiled so scrupulously last winter - hurled them upon the floor with a crash.
"I'll never wear them again; and next winter I'll go to Egypt!" he exclaimed savagely. "It's all their fault; it's all because of that confounded "Grapevine" that I oh, well, I'm not going over it again; what's the use?" and he sank wearily into a chair. "I'm wet through - frozen to the bone. I'm miserable! I'm - I'm everything," and he flung himself out of the room, leaving Lucas speechless with astonishment.
The events of a foregoing week must be given here to account for the very remarkable change in Mr. Pattin's demeanor. A week ago he had arrived in the marshy land of Flanders, full of enthusiasm and a superabundance of skating energy. All the summer he had waited for the winter, and then shortly before Christmas a letter from his friends the Templetons told him that the marshes outside Bruges would very soon bear. "You'll be back for Christmas Day?" said his home circle. "Yes, if the frost breaks." "And if it doesn't?" "You'll not see me here. Goodbye!" And the enthusiast had gone.
When Mr. Pattin arrived at Bruges his first care was to visit the Templetons, and his second words to them were, "What skating prospects are there?" He liked the two young Templetons, for they skated well and talked much on the subject; he also liked their eldest sister, for she tried her best to learn the outside edge under his supervision; but the youngest, Miss Marjory, who never would seriously consider the third edge, who shook her little head and declared that it was very poor fun to go round and round in a circle when every one else was rushing over the ice - he adored her.
Miss Marjory and he had nearly come to a complete understanding last winter, but Mr. Pattin was determined that this year should bring him an answer that would decide his fate. "What have you been doing all the summer, Mr. Pattin?" she asked. "You are indeed a stranger here, except when you are attracted by the skating." "Ah, Miss Templeton, I have been endeavouring to turn summer into winter by compiling a book on skating. In this book I have introduced a new theory for teaching that most intricate of figures the 'Grapevine.' You know that people talk about the figure being only learnt by instinct."
"I have heard that too," chimed in the eldest Miss Templeton. "Don't believe them, Miss Templeton, it's all nonsense; it's absolutely a false idea that has become general. I can prove it," and Mr. Pattin became quite excited over the fact. And thus he continued to talk skating, skating, to him the all-absorbing topic of skating. The marvel was that Marjory was not bored. On the contrary, she listened with the greatest admiration to Mr. Pattin's learned propoundings, heard with interest the 'Grapevine' theory and the descriptions of Rockers, for "omne ignotum pro magnifico."
A few days later the enthusiast rose betimes, and after an early breakfast betook himself to the marshes. His energy was rewarded, the ice bore. A peasant had skated all the way from a distant village, and had reported the ice to be safe and good. Mr. Pattin hurried to the Templetons. "Miss Templeton, there is skating on the marshes. I was there this morning to see for myself. The ice is glorious - a sheet of glass."
"What energy, Mr. Pattin, and such a long walk too!" exclaimed Marjory. "I must really try the outside edge this year, only I wish it wasn't so troublesome." "You will find it quite easy this year, I assure you, Miss Templeton."
"Good morning, Pattin. I hope you've come to tell us that there is skating," said young Templeton, entering the room at that moment. "Oh, that's good news! Do you remember how you came hurrying in last year and surprised us almost before we had begun to think of a frost? Well, we will have the waggonette out and make up a small party. What do you say, Marjory?" "That will be fun! Whom can we ask? Let me see. There's Mr. and Mrs. White, they just love skating; and then we might ask those new people - those nice people in the Grand Place; and - there's Monsieur Chicon; we must ask Monsieur Chicon."
"But skating isn't much in his line, is it?" suggested Marjory's brother. "Oh, I think so; he skates fairly well, and he's certainly very amusing." So a servant hurried out with notes, and a luncheon basket was prepared. Presently the invited guests arrived, and with them Monsieur Chicon, all bows and smiles. The waggonette waited outside, and the horses stamped upon the hard ground. Then the skating-party filled the carriage, and they were off. Mr. Pattin sat next to Marjory, and Monsieur Chicon sat opposite to them, dangling his skates carelessly.
Mr. Pattin eyed the Frenchman's skates. "Humph! There's an old-fashioned contrivance," he said to himself. "Long pointed toes. Very dangerous, and no good for figuring; and I do declare there's rust upon the blades!" And after noticing that, he took quite a dislike to poor little smiling Monsieur Chicon.
Half an hour's drive brought the party to the edge of this vast sheet of ice, that stretched many miles away into the far distance. Mr. Pattin secured a camp stool, and placed it on the bank for Marjory. "Vill you give me the pleesure, Mees Templeton, of fastening your feets to your skates?" said a cheery voice in broken English. "Thank you very much, Monsieur Chicon, but Mr. Pattin has already volunteered to do so," she replied with a smile. "Now, is that quite comfortable?" asked Mr. Pattin, pulling gently at a strap. "Not too tight, I hope?" "No, not a bit too tight. You have put them on beautifully, Mr. Pattin!"
"So very pleased," he murmured. Then they skated away together. "Left, right; left, right," said Mr. Pattin in a soft undertone. "This is splendid!" exclaimed Marjory, her dark eyes sparkling and her cheeks glowing with the exercise. "Splendid indeed!" echoed the enthusiast; and after that there was a long silence. At last Mr. Pattin spoke. "A day like this makes one feel perfectly happy - at least, it has that effect on me; almost perfectly happy, I ought to say, for people are very seldom absolutely content. There's always something missing. Isn't that so, Miss Templeton?" "Yes, I think so; at least, I mean, I don"t believe I ever thought much about it. Some days I am far happier than on others."
Then it flashed across Mr. Pattin's mind that now was a good opportunity for asking Marjory the question; but it was lost, for at that very moment their skates clashed violently together. "Oh! Mr. Pattin, the outside edge was the cause of that. We can't keep time when you are circling round and I am going forward. I protest against the outside edge - I do indeed," laughed Marjory, but in her voice there was just the faintest suspicion of annoyance. "I am sorry, Miss Templeton. I will try and never do such a thing again. But I get on to the edge quite unconsciously. It is so - so blissful; it isn't to be compared to the inside. Won't you try and learn, Miss Templeton - just for a short time?"
"Ahoy! ahoy!" came across the ice. "Hockey! come and play hockey!" and several skaters, flourishing sticks, headed by Monsieur Chicon, flew towards Marjory and Mr. Pattin. "Of course I'll come!" exclaimed Marjory eagerly; "and you will come, Mr. Pattin, and join us - do." "I am afraid I am going to be rude and refuse," he replied. "The fact is, I ought to practice the 'Grapevine' and - and I always consider that hockey ruins both ankles and skates."
"Wonder if I ought to have gone," Mr. Pattin asked himself as he watched Marjory skating away. "She seemed sorry that I didn't; but hockey !" and he turned away to revel in his 'Grapevine' and the outside edge. Nearly an hour passed by, and Mr. Pattin was still figuring; the time seemed but a few minutes to him, and he would have still stayed on if cries of "Mr. Pattin, Mr. Pattin, come to lunch!" had not brought him to the bank, where he found the whole party gathered round a fire.
Monsieur Chicon was here, there, and everywhere, the life of the party, handing plates and glasses, hobbling on his skates over the rough ground, laughing and chattering incessantly. Lunch was over, and Marjory and Mr. Pattin were again skating together. "You enjoyed the hockey, Miss Templeton?" "Oh yes, immensely; but we didn't play for very long." A pause - then, "Are you not on the edge again, Mr. Pattin, because I'm afraid we are not going along very comfortably. Monsieur Chicon never tries the outside edge when he is skating with me; we sail along beautifully." "Oh, do you?" regretfully - then, as an after thought, "of course Monsieur Chicon keeps to the inside edge because he can't do anything else."
Another pause. " Have I shown you the Grapevine, Miss Templeton?" "I think not." "May I do so now?" "Yes." Then Mr. Pattin's feet twinkled and twisted and twirled with smooth rapidity. "Ah, there"s a fine piece of ice over there," he cried. "Will you come, Miss Templeton?" and he moved away. Marjory watched him vaguely at a distance. And Mr. Pattin was absorbed in the 'Grapevine' then he passed from that figure to other intricacies on the outside edge. He was in the seventh heaven of bliss; he circled round, he whirled backwards, he described small half circles, he completed large whole circles, oh it was fascinating - to him, and the time passed rapidly. "Miss Templeton, do you know this fig- oh!" Mr. Pattin had turned round, and there was no Miss Templeton. She had vanished. He looked across the ice, then down at his skates, thoughtfully. "Hmm, strange! Perhaps she's gone to play hockey. Astonishing how fond of the game she is." And Mr. Pattin looked longingly at some figures in the far distance. "I may have an opportunity of speaking to her on our way back," he soliloquised - of speaking to Marjory. "Marjory, what a pretty name it is!" and he sighed. Hours had passed like minutes; Mr. Pattin had wandered farther and farther away from the votaries of hockey; he had found black ice to perfection, the "Grapevine" had flourished, and he was well pleased with himself.
"How very soon it becomes dark!" said Mr. Pattin regretfully. "By Jove! no wonder. It's past seven; the others must have left an hour ago," and he tore across the ice, then stopped suddenly. "I'm certain I never saw this tree before. I must be going in the wrong direction." And he wheeled round and retraced his steps. Darker and darker grew the night, heavy black clouds hid the moon, and Mr. Pattin's lonely figure flitted across the silent marshes. In the darkness there were no landmarks to guide him, solitary trees, fences, sluices, all appeared alike - dark masses without shape or individuality.
Mr. Pattin stood still and looked around him. There was absolutely nothing to show the way, nothing but the blackness of the night and an endless tract of ice. At last, after a long spell of skating, he reached a bank and a road that had the appearance of leading to some point, yet he dared not try the road, for it was probable that it might take him from instead of to Bruges.
So he started off in an opposite direction. A dark wood in the middle of the marshes loomed in front of him; he began to skirt round it; the distance seemed interminable, would the other side never be reached? A feeling of weariness came over Mr. Pattin; still the wood rose up before him, and still he skated mechanically round it.
Presently he stopped, and then discovered that he had come back to the spot whence he had started. "What on earth am I to do?" he exclaimed in a despairing voice. "I shall have to wander about all night in the cold, until daylight helps me." Then he turned his back upon the wood and chose a new way; on - on - past sluices, cutting a way through withered sedges, or sometimes passing over dykes that cracked alarmingly.
"Lost! Lost!" his skates seemed to repeat, in monotonous rhythm. "Lost," cried Mr. Pattin out loud; "yes, lost, and the ice is cracking in every direction, the wind's veered" Crash! The water gurgled, and Mr. Pattin gasped as he went down knee deep into the freezing water; in a second he was out again, standing shivering by the side of the dark hole that he had made. "Oh heavens, how cold!" His knees shook together and his teeth chattered. "I'm getting colder and colder; I'll stay here and die."
Then: "What's this? a stick - a hockey stick; oh blessed hockey! I must be near the lunching place," and he skated towards a bank. "Yes, there's the mark of the fire." It was a long trudge back to Bruges. Mr. Pattin was never quite sure how he got there; his limbs were stiff, and his head ached; truly this was a wretched ending to a day that had begun so brightly.
Lucas was smoking comfortably by the fire. An unobservant fellow was Lucas; he had never noticed his friend's attentions to Miss Marjory Templeton, or even his present plight. "Had a satisfactory skate, Pattin? Oh, by the by, just heard some news, the very latest - little Marjory Templeton's engaged to Monsieur Chicon."
"What!" "Monsieur Chicon proposed to her coming back from the marshes, and she accepted him." "Him! - that grinning little Frenchman, who - who - hasn't even sufficient brains to learn the outside edge!" Then the storm burst, and Mr. Pattin's skates were dashed to the ground. Yet he deserved to lose Marjory; for it was quite evident that he had been far more in love with his outside edge than with her.
Skate Guard is a blog dedicated to preserving the rich, colourful and fascinating history of figure skating. Over ten years, the blog has featured over a thousand free articles covering all aspects of the sport's history, as well as four compelling in-depth features. To read the latest articles, follow the blog on Facebook, Twitter, Pinterest and YouTube. If you enjoy Skate Guard, please show your support for this archive by ordering a copy of figure skating reference books "The Almanac of Canadian Figure Skating", "Technical Merit: A History of Figure Skating Jumps" and "A Bibliography of Figure Skating": https://skateguard1.blogspot.com/p/buy-book.html.
The Soundtrack Of Skating
In the early days of international figure skating competitions, music was a lot like a floral garnish on a dinner plate. It was there, it was pretty... but it really didn't serve any real purpose.
The first free skating performances skated in the Olympics weren't designed with any specific music in mind. It really didn't matter if the band played a military march or "I'm A Little Teapot" when Ulrich Salchow first demonstrated his namesake jump. The judges were far more interested in his rockers and spins than the jumps he performed or how he kept time with the music anyway.
After a flag was dropped to signify the start of a skater's program, a band played a waltz or a march until 'time' was called by the referee. The style of background music used was sometimes not even of the skater's choosing. Such was the case at the 1932 Olympics in Lake Placid, when the band played the exact same tune for all twelve of the men's competitors. It was said that it was the only classical piece they knew.
By the mid-thirties, the orchestra or band was replaced with specially cut gramophone records and more consideration was given to a skater's musical interpretation. In the decades that followed, cassette tapes and CD's were used. In today's world, everything is digital.
In today's blog, we'll take a look at the soundtrack of figure skating - the music that Olympic Gold Medallists have used for their winning performances over the years. A very special thanks to Dr. Matthias Hampe and Frazer Ormondroyd for their assistance in compiling this information!
MEN
Year |
Winner |
Short Program |
Free Skate |
1908 |
Ulrich Salchow |
(N/A) |
Live accompaniment |
1920 |
Gillis Grafström |
(N/A) |
Live accompaniment |
1924 |
Gillis Grafström |
(N/A) |
Live accompaniment |
1928 |
Gillis Grafström |
(N/A) |
Live accompaniment |
1932 |
Karl Schäfer |
(N/A) |
Live accompaniment: Medley including "Orpheus at the Underworld" (Jacques Offenbach) |
1936 |
Karl Schäfer |
(N/A) |
Waltz and modern selections |
1948 |
Dick Button |
(N/A) |
"Roumanian Rhapsody" (George Enescu, Andre Kostelanetz) |
1952 |
Dick Button |
(N/A) |
"Roumanian Rhapsody" (George Enescu, Andre Kostelanetz) |
1956 |
Hayes Alan Jenkins |
(N/A) |
"Scheherazade" (Nikolai Rimsky-Korsakov) |
1960 |
David Jenkins |
(N/A) |
"Piano Concerto in A minor, Op. 16" (Edvard Grieg) |
1964 |
Manfred Schnelldorfer |
(N/A) |
"Carmen" (Georges Bizet)/"Grandfather's Dance"
from "The Nutcracker" (Pyotr Ilrich Tchaikovsky)/ "Boccaccio: Overture" (Franz von Suppè)
|
1968 |
Wolfgang Schwarz |
(N/A) |
"Grand March" from "Aida" (Giuseppe Verdi)/"Symphony No. 9 in E- Minor - From The New World" (Antonín Dvořák)/"Semiramide" (Gioachino Rossini) |
1972 |
Ondrej Nepela |
(N/A) |
"Homage March, Op. 22 No. 4" from "Sigurd Jorsalfar" (Edvard Grieg)/"Bacchanale" from "Samson and Delilah" (Camille Saint-Saëns) |
1976 |
John Curry |
"Rhapsody On A Theme Of Paganini Op.43: XII Variation" (Sergei Rachmaninoff, arranged by Nikolai Lugansky) |
"Don Quixote" (Ludwig Minkus) from "Nureyev's Don Quixote" (The Elizabethan Trust Melbourne Orchestra, arranged by John Lanchbery) |
1980 |
Robin Cousins |
"The Railway Children" (Johnny Douglas and His Orchestra) |
"Belle De Jour" (Saint Tropez)/"Dragons Of Midnight" (The Mike Theodore Orchestra)/"Murder On The Orient Express: Finale" (Charles Taylor, Marcus Dods, Orchestra of the Royal Opera House)/"Paint It Black" (Johnny Harris) |
1984 |
Scott Hamilton |
"Samson and Delilah" (Camille Saint-Saëns)/ "The Sharish Polka" (Lúčnica, Czechoslovakian Folk Ballet from Bratislava) |
"Overture" from "Guardian Of The Light" (George Duke)/"Ren" (Hiroshima)/"Swan Lake" (Pyotr Ilyich Tchaikovsky) |
1988 |
Brian Boitano |
"Entrée" from "Les Patineurs" (Giacomo Meyerbeer, National Philharmonic Orchestra) |
"Pozzo Theme", "Fort Carré Prison", "Victorious In Italy and Finale" from "Napoléon" (Carmine Coppola) |
1992 |
Viktor Petrenko |
"Carmen" (Georges Bizet) |
"Raymond: Overture" (Ambroise Thomas)/"Le Cid" (Jules Massenet)/"Waltz op. 64 No. 2" (Frédéric Chopin)/"I Vespi Siciliani overture" (Giuseppe Verdi |
1994 |
Alexei Urmanov |
"Rigoletto", "La donna è mobile" (Giuseppe Verdi) |
"Semiramide: Overture", "La Gazza Ladra - The Thieving Magpie", "William Tell Overture"(Gioachino Rossini)/"Poet and Peasant" (Franz von Suppé) |
1998 |
Ilia Kulik |
"Overture" from ""Révolution Industrielle" (Jean-Michel Jarre) |
"Rhapsody In Blue" (George Gershwin) |
2002 |
Alexei Yagudin |
"Winter" (Bond) |
"Surrounded", "Heart Of A King" from "The Man In The Iron Mask" (Nick Glennie-Smith) |
2006 |
Evgeni Plushenko |
"E lucevan le stelle" from "Tosca" (Giacomo Puccini) |
"The Godfather" (Edvin Marton) |
2010 |
Evan Lysacek |
"The Firebird" (Igor Stravinsky) |
"Scheherazade" (Nikolai Rimsky-Korsakov) |
2014 |
Yuzuru Hanyu |
"Parisienne Walkways" (Gary Moore) |
"Romeo and Juliet" (Nino Rota) |
2018 |
Yuzuru Hanyu |
"Ballade No. 1 in G minor, Op. 23" (Frédéric Chopin) |
"Seimei" from "Onmyōji" (Shigeru Umebayashi) |
WOMEN
Year |
Winner |
Short Program |
Free Skate |
1908 |
Madge Syers |
(N/A) |
Live accompaniment |
1920 |
Magda Julin |
(N/A) |
Live accompaniment |
1924 |
Herma Szabo |
(N/A) |
Live accompaniment |
1928 |
Sonja Henie |
(N/A) |
Live accompaniment |
1932 |
Sonja Henie |
(N/A) |
Live accompaniment |
1936 |
Sonja Henie |
(N/A) |
"Rosen aus dem Süden" (Johann Strauss II) |
1948 |
Barbara Ann Scott |
(N/A) |
"Les Patineurs" (Giacomo Meyerbeer)/"March Of The Toys" from "Babes In Toyland" (Victor Herbert)/"Coppélia" (Léo Delibes) |
1952 |
Jeannette Altwegg |
(N/A) |
"Tales Of Hoffmann" (Jacques Offenbach) |
1956 |
Tenley Albright |
(N/A) |
"Belle nuit, ô nuit d'amour" from "Tales Of Hoffmann" (Jacques Offenbach), Selections by Antonin Vivaldi, Johann Strauss Jr. |
1960 |
Carol Heiss |
(N/A) |
"Giselle", "If I Were King" (Adolphe Adam)/"Second Suite" from "The Nutcracker" (Pyotr Ilrich Tchaikovsky)/"La Gazza Ladra - The Thieving Magpie" (Giaochino Rossini) |
1964 |
Sjoukje Dijkstra |
(N/A) |
"Les Patineurs" (Giacomo Meyerbeer)/"Scène et pas d'action", "Scène: Arrivée de Nouredda" from "La source" (Léo Delibes) |
1968 |
Peggy Fleming |
(N/A) |
"Symphony No. 6 - Pathetique" (Pyotr Ilrich Tchaikovsky)/"Mon cœur s'ouvre à ta voix" from "Samson and Delilah" (Camille Saint-Saëns)/"La Gazza Ladra - The Thieving Magpie" (Giaochino Rossini) |
1972 |
Trixi Schuba |
(N/A) |
"Man Of La Mancha" (Mitch Leigh)/"Medley" (The Boston Pops Orchestra, Arthur Fiedler)/"The Impossible Dream" (Mitch Leigh) |
1976 |
Dorothy Hamill |
"Konzertstück in A-Flat Major, Op. 113" (Vienna Symphony Orchestra) |
"Captain Blood","Love Is Love" from "Escape Me Never", "Overture" from "Elizabeth & Essex", "Nora's Theme" from "Of Human Bondage" (Erich Wolfgang Korngold)
|
1980 |
Anett Pötzsch |
"Something's Coming", "America" from "West Side Story Medley" (Frank Chacksfield and His Orchestra) |
"Overture" from "Funny Girl" (Jule Styne) |
1984 |
Katarina Witt |
"Csárdás" (Vittorio Monti) |
"I Got Rhythm", "Embraceable You", "Mona Lisa" from "Crazy For You" (George Gershwin) |
1988 |
Katarina Witt |
"Overture", "I Am What I Am", "Hello, Dolly!" from "Jerry's Girls" (Jerry Herman) |
"Introduction", Dance", "Carmen's Entrance and Habañera", "Finale" from "Carmen" (Georges Bizet, Rodion Shchedrin) |
1992 |
Kristi Yamaguchi |
"Blue Danube" (Johann Strauss, Berlin Philharmonic Orchestra) |
"Malaguena" (Ernesto Lecuona, Stanley Black and His Orchestra) |
1994 |
Oksana Baiul |
"Pas de deux, Intrada - Tempo di Valse", "Variation d'Odile" from "Swan Lake" (Peter Llyich Tchaikovsky, Bolshoi Theatre Orchestra) |
"The Rain In Spain" from "My Fair Lady", "My Favourite Things" from "The Sound Of Music", "Somewhere" from "West Side Story", "One" from "A Chorus Line", "Cabaret" from "Cabaret" (Andre Kostelanetz and His Orchestra) |
1998 |
Tara Lipinski |
"Once Upon A December", "Journey To The Past" from "Anastasia" (David Newman) |
"Prelude and Opening" from "The Rainbow" (Carl Davis)/"Scenes of Summer: Festival" (Lee Holdridge, London Symphony Orchestra, Glenn Dicterow) |
2002 |
Sarah Hughes |
"Ave Maria" (Charles Gounod) |
"Daphnis et Chloé" (Maurice Ravel, Vienna Philharmonic Orchestra)/"Rhapsody on a Theme of Paganini" (Sergei Rachmaninoff)/"Piano Concerto No. 2" (Sergei Rachmaninoff) |
2006 |
Shizuka Arakawa |
"Fantaisie-Impromptu" (Frédéric Chopin, performed by Stanley Black and the London Festival Orchestra) |
"Violin Fantasy on Puccini's Turandot" (Vanessa-Mae) |
2010 |
Yuna Kim |
"Fight On The Disco Vilante/Finale" from "Thunderball" (John Barry), "Girl Trouble" from "From Russia With Love" (John Barry), "Going Down Together" from "Die Another Day" (David Arnold), "James Bond Theme" from "Dr. No" (Monty Norman) |
"Concerto In F" (George Gershwin) |
2014 |
Adelina Sotnikova |
"Habanera" from "Carmen" (Georges Bizet) |
"Introduction and Rondo Capriccioso in A Minor Op. 28 for Violin and Orchestra" (Camille Saint-Saëns) |
2018 |
Alina Zagitova |
"Black Swan" (Clint Mansell)/"The Middle Of The World" from "Moonlight" (Nicholas Britell) |
"Don Quixote" (Ludwig Minkus) |
PAIRS
Year |
Winner |
Short Program |
Free Skate |
1908 |
Anna Hübler and Heinrich Burger |
(N/A) |
Live accompaniment |
1920 |
Ludovika and Walter Jakobsson |
(N/A) |
Live accompaniment |
1924 |
Helene Engelmann and Alfred Berger |
(N/A) |
Live accompaniment |
1928 |
Andrée Joly and Pierre Brunet |
(N/A)" |
Live accompaniment - "Les Patineurs" (Giacomo Meyerbeer) |
1932 |
Andrée (Joly) and Pierre Brunet |
(N/A) |
Live accompaniment |
1936 |
Maxi Herber and Ernst Baier |
(N/A) |
Original composition (Rudolf Zeller) |
1948 |
Micheline Lannoy and Pierre Baugniet |
(N/A) |
(unknown) |
1952 |
Ria Baran and Paul Falk |
(N/A) |
"Egmont, Op. 84" by Ludwig van Beethoven/"Oberon" (Carl Maria von Weber); |
1956 |
Sissy Schwarz and Kurt Oppelt |
(N/A) |
"Light Cavalry Overture" (Franz von Suppé) |
1960 |
Barbara Wagner and Bob Paul |
(N/A) |
"Amor" (Percy Faith)/"Love Letters" (Victor Young And His Singing Strings)/"Gräfin Mariza" (Emmerich Kálmán) |
1964 |
Ludmila Belousova and Oleg Protopopov |
(N/A) |
"Präludium und Fuge", "Liebestraum" (Franz Liszt), "Rhapsody On A Theme Of Paganini", "Piano Concerto No. 3" (Sergei Rachmaninoff) |
1968 |
Ludmila Belousova and Oleg Protopopov |
"Bugle Call Rag" (Glenn Miller)/"Fascination" (Liberace) |
"Moonlight Sonata", "Symphony No. 5 in C Minor, Op. 67" (Ludwig van Beethoven)/"Piano Concerto No. 1" (Sergei Rachmaninoff)/"Le Poème de l'Extase op. 54" (Alexander Scriabin) |
1972 |
Irina Rodnina and Alexei Ulanov |
"Csárdás" (Vittorio Monti)
|
"Autumn Bacchanale" from "The Seasons" (Alexander Glazunov)/"Gayaneh" (Aram Khachaturian) |
1976 |
Irina Rodnina and Aleksandr Zaitsev |
Gypsy and Moldovan music (Moiseyev Dance Company) |
Gypsy and Moldovan music, "Tsigany" (Moiseyev Dance Company) |
1980 |
Irina Rodnina and Aleksandr Zaitsev |
"Flight 76 (Flight Of The Bumble Bee" (Walter Murphy) |
Selections by Georgy Vasilievich Sviridov and Alexandra Nikolaevna Pakhmutova |
1984 |
Elena Valova and Oleg Vasiliev |
"Kalinka" (traditional Russian music)
|
"Get Back" (Libera Orchestra Sinfonica)/"Für Elise" (Ludwig van Beethoven)/"Stairway To Heaven" (London Symphony Orchestra) |
1988 |
Ekaterina Gordeeva and Sergei Grinkov |
"Les Toreadores", "La garde montante" from "Carmen" (Georges Bizet) |
"Symphony No. 4" (Felix Mendelsohhn)/"Concerto
No. 2", "Etude No. 12", "Concerto No. 1"
(Frédéric Chopin)/ "Overture" from "The Marriage
Of Figaro" (Wolfgang Amadeus Mozart)
|
1992 |
Natalia Mishkutenok and Artur Dmitriev |
"Don Quixote" (Leon Minkus) |
"Liebestraum" (Franz Liszt, The Philadelphia Orchestra) |
1994 |
Ekaterina Gordeeva and Sergei Grinkov |
"Zapateado"/"Farrucas" (Pepe Romero)/ "Picasso Suite: The Dancer" (Michel Legrand) |
"Pathétique Sonata (No. 8)", "Moonlight Sonata (No. 14)" (Ludwig van Beethoven) |
1998 |
Oksana Kazakova and Artur Dmitiev |
"Thus Spake Zarathrusta" (Richard Strauss) |
"Passacaglia" from "Suite de pièce Vol. 1 No. 7 in G minor" (George Frideric Handel) |
2002 |
Jamie Salé and David Pelletier |
"Jalousie" (Jacob Gade) |
"(Where Do I Begin?) Love Story" (Stanley Black and London Festival Orchestra) |
2002 |
Elena Berezhnaya and Anton Sikharulidze |
"Nocturne" from "La Califfa" (Ennio Morricone) |
"Meditation" from "Thaïs" (Jules Massenet) |
2006 |
Tatiana Totmianina and Maxim Marinin |
"Romance" from "The Blizzard" (Georgy Sviridov) |
"Romeo and Juliet" (Edvin Marton) |
2010 |
Xue Shen and Hongbo Zhao |
"Who Wants To Live Forever?" (David Garrett) |
"Adagio In G Minor" (Eroica Trio) |
2014 |
Tatiana Volosozhar and Maxim Trankov |
"Masquerade Waltz" (Aram Khachaturian, performed by Kiril Kondrashin and RCA Victor Symphony Orchestra) |
"Jesus Christ Superstar" (Andrew Lloyd Webber) |
2018 |
Aliona Savchenko and Bruno Massot |
"That Man" (Caro Emerald) |
"La terre vue du ciel" (Armand Amar, Maxime Rodriguez) |
ICE DANCING
Year |
Winner |
OSP/Original/Short Dance |
Free Dance |
1976 |
Lyudmila Pakhomova and Aleksandr Gorshkov |
"Miami Beach Rhumba" (Edmundo Ros) |
"The Chase" (Out Of Place)/"Flamenco Fantasy" (101 Strings Orchestra) |
1980 |
Natalia Linichuk and Gennadi Karponosov |
"Potpourri" from "Die Frau meiner Träume" (Franz Grothe, Wolf Lorey Quintett) |
(unknown pieces)/"Train Number Forty-Five" (Earl Scruggs) |
1984 |
Jayne Torvill and Christopher Dean |
"Cappricio Espagnol" (Nikolai Rimsy-Korsakov, arranged by Robert Stewart, Richard Hartley and Alan Hawkshaw) |
"Boléro" (Maurice Ravel, arranged by Robert Stewart, Richard Hartley and Alan Hawkshaw) |
1988 |
Natalia Bestemianova and Andrei Bukin |
"Hernando's Hideaway" (Václav Hybš) |
"Polovetsian Dances" from "Prince Igor" (Alexander Borodin) |
1992 |
Marina Klimova and Sergei Ponomarenko |
"Ballet Suite No. 2: III. Polka" (Dmitri Shostakovich, Lev Atovmyan and Bolshoi Theatre Orchestra) |
"Suite No. 3: Air on the G String, "Toccata and Fugue in D Minor" (Johann Sebastian Bach, The Philadelphia Orchestra) |
1994 |
Oksana Grishuk and Evgeni Platov |
"Historia de un Amor" (Carlos Eleta Almarán) |
"Rock Around The Clock"/"Humming Bird" (Micky Ashman) |
1998 |
Oksana Grishuk and Evgeni Platov |
"Jailhouse Rock" (Elvis Presley) |
"Memorial" from "The Cook, The Thief, His Wife & Her Lover" (Michael Nyman) |
2002 |
Marina Anissina and Gwendal Peizerat |
"Tangos De Málaga (Cante, Baile Y Guitarra" (El Trini)/"Tango Güell" (Eric Woolfson) |
"I Have A Dream" (Martin Luther King)/"Non Merci" from "Cyrano de Bergerac" (Jean-Claude Petit)/"Canone Inverso Primo" (Ennio Morricone) |
2006 |
Tatiana Navka and Roman Kostomarov |
"Chilly Cha Cha" (Jessica Jay)/"Historia de un Amor" (Carlos Eleta Almarán)/"Samba Vocalizado" (Luciano Perrone) |
"Carmen" (Georges Bizet) |
2010 |
Tessa Virtue and Scott Moir |
"Farrucas" (Pepe Romero) |
"Symphony No. 5" (Gustav Mahler, performed by The London Symphony Orchestra) |
2014 |
Meryl Davis and Charlie White |
"I Could Have Danced All Night", "With a Little
Bit of Luck", "Get Me to the Church on Time" from
"My Fair Lady"
(Frederick Loewe)
|
"Scheherazade" (Nikolai Rimsky-Korsakov) |
2018 |
Tessa Virtue and Scott Moir |
"Sympathy For The Devil" (The Rolling Stones)/"Hotel California" (The Eagles)/"Oye Como Va" (Carlos Santana) |
"The Show Must Go On", "El Tango De Roxanne", "Come What May" from "Moulin Rouge" (David Baerwald, Kevin Gilbert) |
TEAM EVENT
Year |
Winner |
Short Program |
Free Skate |
2014 |
Evgeni Plushenko |
"El Tango De Roxanne" from "Moulin Rouge" (Ewan McGregor) |
'The Best Of Plushenko' medley (arranged by Edvin Marton): "Criminal St. Petersburg" (Igor Kornelyuk)/"The Godfather" (Nino Rota)/"Sheherazade" (Nikolai Rimsky-Korsakov)/"Tango Amore" (Edvin Marton)/"Tosca" (Giacomo Puccini)/"Adagio" (Tomaso Albinoni, Remo Giazotto) |
|
Julia Lipnitskaia |
"You Don't Give Up On Love" (Mark Minkov) |
"Schindler's List" (John Williams) |
|
Tatiana Volosozhar and Maxim Trankov |
"Masquerade Waltz" (Aram Khachaturian, performed by Kiril Kondrashin and RCA Victor Symphony Orchestra) |
N/A |
|
Ksenia Stolbova and Fedor Klimov |
N/A |
"The Addams Family" (Marc Shaiman) |
|
Ekaterina Bobrova and Dmitri Soloviev |
"Diamonds Are A Girl's Best Friend" from "Gentlemen Prefer Blondes" (Jules Styne)/"I Wanna Be Loved By You"/"That Man" by Caro Emerald |
N/A |
|
Elena Ilinykh and Nikita Katsalapov |
N/A |
"Swan Lake" (Pyotr Ilrich Tchaikovsky) |
2018 |
Patrick Chan |
"Dust In The Wind" (Kansas) |
"Hallelujah" (Jeff Buckley) |
|
Kaetlyn Osmond |
"Sous le ciel de Paris", "Milord" (Edith Piaf) |
N/A |
|
Gabby Daleman |
N/A |
"Rhapsody In Blue" (George Gershwin) |
|
Meagan Duhamel and Eric Radford |
"With Or Without You" (April Meservy) |
"Hometown Glory" (Adele) |
|
Tessa Virtue and Scott Moir |
"Sympathy For The Devil" (The Rolling Stones)/"Hotel California" (The Eagles)/"Oye Como Va" (Carlos Santana) |
"The Show Must Go On", "El Tango De Roxanne", "Come What May" from "Moulin Rouge" (David Baerwald, Kevin Gilbert) |
Skate Guard is a blog dedicated to preserving the rich, colourful and fascinating history of figure skating. Over ten years, the blog has featured over a thousand free articles covering all aspects of the sport's history, as well as four compelling in-depth features. To read the latest articles, follow the blog on Facebook, Twitter, Pinterest and YouTube. If you enjoy Skate Guard, please show your support for this archive by ordering a copy of figure skating reference books "The Almanac of Canadian Figure Skating", "Technical Merit: A History of Figure Skating Jumps" and "A Bibliography of Figure Skating": https://skateguard1.blogspot.com/p/buy-book.html.
Sunflowers And Stilts: The Sidney Charlton Story
Born May 1, 1883 in the London suburb of Lambeth, Sidney James Mitchell grew up in one of England's earliest 'show biz' skating families. His Roman Catholic father Horace was one half of the roller duo Charlton & Tyme (the 'Arctic skaters') who performed at the rink at the Royal Leamington Spa in Warwickshire in the 1870's. Sidney's father later taught ice skating at the Glaciariums in Australia in the late Edwardian era under the name 'Professor Charlton'. His sister Lillian, one of England's first female skating instructors, accompanied him on these trips down under.
At the age of fourteen, Sidney (adopting his father's stage name Charlton) skated alongside World Champion Henning Grenander in a carnival at Prince's Skating Club. Among the spectators were the Prince of Wales, the Duchess of Teck, the Countess of Minto and Lady Randolph Churchill. He was billed as "the boy champion", having been presented by the future King Edward VII with a medal at another Prince's carnival that year.
Sidney's promising skating career was cut short for a time, when he served with the First Imperial Light Horse regiment in South Africa in the Second Boer War. After the War, he taught skating at Prince's for a time, working with Olympic Silver Medallist Arthur Cumming early in his career.
Though Sidney was living in England when The Great War broke out, he was able to join the Canadian Army Medical Corps. Not long after enlisting with the Canadian Expeditionary Force, he was admitted to a troop hospital to recover from trench fever and pleurisy. He returned to the trenches and saw considerable action on the front lines in France.
When the Streatham Ice Rink opened in 1931, Sidney was hired on to serve as the venue's floor manager. His wife worked as a waitress at a Lyons teashop. He continued to perform sporadically in various events, such as the famous "St. Moritz" spectacle at the London Coliseum which featured Pamela Prior, Eva Keats and Erik van der Weyden and Hans Witte and the 1932 World's and British Open Professional Championships. By this point in time, a handful of other skaters had copied his stilt skating act. He performed a comedic roller skating act with The Derby Skaters during this period.
Skate Guard is a blog dedicated to preserving the rich, colourful and fascinating history of figure skating. Over ten years, the blog has featured over a thousand free articles covering all aspects of the sport's history, as well as four compelling in-depth features. To read the latest articles, follow the blog on Facebook, Twitter, Pinterest and YouTube. If you enjoy Skate Guard, please show your support for this archive by ordering a copy of figure skating reference books "The Almanac of Canadian Figure Skating", "Technical Merit: A History of Figure Skating Jumps" and "A Bibliography of Figure Skating": https://skateguard1.blogspot.com/p/buy-book.html.