FEI European Dressage Championships 2015 - Grand Prix Freestyle

Though the medal winners were no surprise given the performances the last few days, it was very close at the top of the class with a number of people pulling excellent rides out of their horses. Charlotte Dujardin was on fire today, except for major mistakes in both lines of one tempis, which put her just barely ahead of Kristina Bröring-Sprehe. Isabell Werth had an amazing ride on Don Johnson, getting every point possible out of him, but Beatriz Ferrer-Salat deservedly pulled ahead for bronze riding a fantastic clean test on the powerful Delgado.

Charlotte Dujardin & Valegro: 89.054%

• Right into the arena, Valegro's passage was on with plenty of push from behind. The trot half-pass left showed powerful, supple crossing and even the passage half-passes had lots of crossing without a loss of suspension or rhythm. The piaffes were on the spot, with Valegro sitting beautifully in the third and allowing his knees to come up. The extended walk was beautifully relaxed into the bridle, even if it is not huge. The extended canter down the centerline showed lots of relaxation through the back, even with all its power. Dujardin had an error again in both lines of one tempis where the horse jumped together behind. The twos, though, came off beautifully. The final piaffe pirouette started a little slow, but then showed one of Valegro's best piaffes. 

Kristina Bröring-Sprehe & Desperados: 88.804%

• Bröring-Sprehe began with a light-footed passage half-pass to trot half-pass. The trot half-pass left was a little slow in the rhythm. The first piaffe was nice, but the horse came above the bit in the transition out of it. The second piaffe was closed at the base and bouncy, but started a little irregular. The canter pirouette right was super: small, with a top quality uphill canter. Bröring-Sprehe showed three more double pirouettes, all of really high quality. The first extended canter could have shown slightly longer strides. The final passage was really light and rhythmical and the last two piaffes very well finessed. The ride is so soft and friendly looking, even though the contact is not totally steady, so when her top moving horse is with her, she really rakes in the marks. Though the score was maybe a little high, it was definitely good enough for silver.

Beatriz Ferrer-Salat & Delgado: 82.714%

• Delgado's passage has super suspension and drive from behind. The piaffe is also springy, though it lacks a little sit. In the trot half-passes, there is lots of ground-cover, but Delgado could step more under behind. Ferrer-Salat took full advantage of the high quality passage in effortless-looking passage half-passes. The extended walk was a bit tense in the body. The tempi changes were very uphill but needed to be straighter and jump not just up, but more forward. The first canter pirouette was tiny and balanced, but needed a bit more bend; the second got a bit big. At the end, Ferrer-Salat rode a full piaffe pirouette that had a metronome rhythm. The music was powerful, really well suited for the horse's gaits. 

Hans Peter Minderhoud & Johnson: 82.411%

• Minderhoud had a few little short steps behind in the early passage. Johnson lowers his croup well in piaffe, but should also bring his hind legs more under. The trot half-passes were expressive, but could have had a higher degree of difficulty. The later passage showed much better engagement and the extended trot was beautifully up and forward into the bridle. Johnson was quite tense in extended walk. Minderhoud's extended canter was bold and powerful and the canter pirouette after was really sitting with plenty of jump in the canter. The canter in the tempi changes jumped uphill beautifully, though they could cover a bit more ground. Minderhoud had to work hard to keep the last piaffe going, but the last passage was beautiful in front. 

Carl Hester & Nip Tuck: 79.571%

• Nip Tuck's frame was lovely right from the start. The trot half-passes had nice crossing, but could have had a touch more power. The piaffe has good rhythm, but bounced up a bit behind. The transitions from piaffe to passage tended to have a bit of a hitch of them. The canter pirouettes were small and very well controlled in their rotation, though they could jump more uphill. The canter pirouettes were beautifully correct and uphill. The final passage half-passes were lovely and had lots of suspension. Everything in the test was ridden with harmonious precision. 

Isabell Werth & Don Johnson: 82.446%

• Werth chose to ride to her Pomp and Circumstance freestyle, which though it isn't new, matches piaffe and passage so well.  She started a little cautiously in the first extended trot, not pushing for the maximum reach and power, though it still showed nice engagement. The passage tours wary one were very good, with Don Johnson really stepping under with full suspension and not showing his tendency towards a double-beat behind. The trot half-passes reach beautifully sideways in front. Though the piaffes are not really sitting, they have a very clear rhythm. The extended canters into the pirouettes were really bold and supple. The tiny, active canter pirouette right was the only time that Don Johnson got a bit braced in the contact. The one tempis were nice through the body, but could have covered a bit more ground. The rhythm on the final centerline was unchanging from piaffe pirouette to passage half pass. A top test for this combination. 

Tinne Vilhelmson Silfvén & Don Auriello: 80.571%

• Vilhelmson Silfvén is such a sharp freestyle rider and her music really suits the horse. The piaffe and passage continued to be a weakness because they are quite slow behind, though the passage half-passes made for a really nice balanced picture from the front. The extended walk was excellent, moving forward from behind to stretch into the bridle. Vilhelmson Silfvén's line of pirouette, ones, pirouette was impeccable with uphill changes and tiny, balanced pirouettes, though they could have a bit more jump in behind. The twos had good lift in front. The final extended trot stepped under well and of course Don Auriello really reaches up and out in front. The frame as always was impeccably soft and uphill. This test definitely deserved its big score. 

Diederik van Silfhout & Arlando: 78.696%

• Arlando showed right from the start his amazing expression in passage and piaffe. The piaffe creeps forward a bit. The trot half-passes could have stepped sideways with more suppleness. The walk work was rather tense behind and showed almost no overtrack. The canter pirouette left was really sitting, but a little rushed and big. Arlando was more willing in the canter half-pass left than the one to the right. Van Silfhout had an unscripted change in the second, very tense, extended canter. In some of the passage towards the end of the test, the horse was getting a bit frantic picking up the left hind, despite the impressive loftiness of the movement. 

Jessica von Bredow-Werndl & Unee BB: 80.214%

• Von Bredow-Werndl started right out of the halt with an uphill canter pirouette and the second one was tiny—a real highlight of the test. She had a counting error in the two tempis and the ones were quite tense in the back, though they had nice shoulder freedom. The first piaffe, coming out of canter, had a good level of activity, but needed to come more under behind, especially in the last steps. The piano music von Bredow-Werndl chose to accompany the piaffe was really clever. The trot half-passes flow sideways nicely but lack a little bend. Unee stepped very well from behind in the trot extensions. The stallions struggles a little with the transitions from piaffe to passage, but von Bredow-Werndl finessed them well. Von Bredow-Werndl's program was a highly technical one with lost of transitions and movements that closely followed each other, all ridden precisely to well-chosen music. 

Gonçalo Carvalho & Batuta: 72.761%

• Batuta's piaffe and passage today looked really good. The mare seemed much more comfortable in the arena than earlier in the week and so she lifted her legs way off the ground without looking like she was on hot coals. The piaffe sometimes crept forward a little, but was soft and springy. The extended walk moved nicely through the body and was correct in the rhythm, but got a bit deep in the bridle. Carvalho rode the canter work a bit cautiously, but it maintained Batuta's relaxation and so was a good riding choice. The first pirouette needed to be more uphill and the second lost the canter rhythm a bit. Carvalho rode an impeccable transition from canter to piaffe and good final line of passage. 

Karen Tebar & Don Luis: 75.000%

• Tebar started a little slow in the trot half-passes which could have showed more fluid crossing. The passage and piaffe are a real highlight though. The passage shows really good engagement behind and the piaffe springs off the ground. Don Luis hesitated a bit before the first piaffe though. The horse tilts its head at times, but Tebar's contact is pleasantly soft throughout. The first canter pirouette started quite big and was not tat well placed on the centerline. The half-passses in trot and canter did not have a very high degree of difficulty, though this is understandable given the horse's lack of experience. Tebar oddly decided to show one tempis on the centerline, but the changes were clearly swinging through the body. A pleasant ride, but not totally clean today. 

Morgan Barbançon Mestre & Painted Black: 73.875%

• Barbançon Mestre started on a nice soft piaffe and passage with easy transitions between the two. The horse could have been a little lighter in front, but stays well in the rhythm. There was an error in the twos but Barbançon Mestre rode them again very well. The extended walk was relaxed while remaining motivated. The one tempis jumped lightly forward and off the ground. The final passage showed quite good engagement. Barbançon Mestre's music choice was quite poignant, especially since this is the last time we will see Painted Black in international competition. 

Patrick van der Meer & Uzzo: 74.321%

• Van der Meer entered the test with a nice forward feeling hand, producing a good extended trot with lots of shoulder freedom. Throughout, though, it would be nice to see more relaxation in the body. Uzzo gave some resistance to the bit in the first piaffe, ridden at C, resulting in a loss of rhythm. The first canter pirouette turned a bit haunches-first. The tempis were straight. Coming back from extended canter, Uzzo got a bit braced. The second set of pirouettes ridden on the long diagonal were very good: small and uphill and active. For the most part, the horse stayed more open in the neck than in the Grand Prix. Their final line of passage was airy without Uzzo getting too electric. The music for the test was pleasant, but didn't do much to underline the movements. 

FEI European Dressage Championships 2015 - Grand Prix Special

This has certainly been a dramatic European Championships. Two days ago, it was Totilas out after looking uneven behind in the trot extensions and today in the special Undercover, boiling over from tension from the moment he entered the stadium, bit his tongue and was eliminated for blood in the mouth. It was a shame, too, because Edward Gal was managing to settle the horse back into the work again and he would likely have qualified for the Freestyle tomorrow. There was also some controversy over the score of Diederik van Silfhout; the Dutch judge seemed to show a bit of nationalistic favoritism and so the FEI's 'six-percent rule' went into effect. Because of the judge's score differed by more than 6 percent from the next highest judge, that score was changed to the next highest judge's score.

Hans-Peter Minderhoud rode Johnson to a 79.034% and a bronze medal. I was a little surprised at the score as I didn't think the horse looked as soft as he had in the Grand Prix. At times the passage lost some engagement in one or both hind legs. Still, Johnson is presented nicely up in the bridle—except for getting a bit deep in the piaffe—and moves forward into the bit in a supple and powerful way. Also, the moments of unsteadiness might have been explained by the fact that Minderhoud was not feeling well. Minderhoud told horses.nl that because of how poorly he was feeling, it was hard to really feel the excitement of winning his first—and well-deserved—international medal. Undoubtedly the bad luck for his partner Gal would also have made it hard to celebrate.

Kristina Bröring-Sprehe definitely had a better ride, getting 83.067 and the silver medal. Most importantly, Desperados's lofty passage didn't get so big today that Bröring-Sprehe couldn't keep it balanced so there were only a very few irregular steps where Desperados got a bit slow in the right hind. The first pirouette kept an easy uphill canter rhythm, but the second got a little big. While there were a couple steps where Desperados slightly lost his rhythm and balance in the last piaffe, the passage on the final centerline was expressive and rhythmical.

Charlotte Dujardin produced a very polished ride today and got her highest score ever in the long version of the special: 87.577%. The extended trots were all spectacular—Valegro pushes with lots of power from behind forward into the contact, stepping way underneath himself and lifting in front. The trot half-passes were fluid as ever. There was a moment of hesitation into the first passage, but the passage itself was strong behind and very consistent in its rhythm. Dujardin had no trouble keeping the count in Valegro's big and supple tempi changes, though she was doing some serious focused preparation before both lines of ones. All the piaffes had lots of sit and were in place (they were creeping forward a bit in the Grand Prix). Valegro looked a bit tired on the final centerline, getting a hair heavy in front, but the passage was still lovely and soft. Dujardin definitely deserved her gold with this test.

Delgado and Beatriz Ferrer-Salat are a cool combination. The horse has got a very lofty passage and a lot of power from behind, though in the extended trots, he could step more underneath himself. Delgado doesn't appear to be the supplest horse through the body, but Ferrer-Salat did a lovely job maintain a soft contact and good frame.

I also took a peek at a couple of the early combinations. Jorinde Verwimp had another nice ride for a 70.588%. The horse stays really well up in the bridle, though maybe could be a bit softer on the underside of his neck. The trot tour was energetic and controlled except for a break to canter before the second half-pass. Tiamo's piaffe and passage are both pretty springy and regular, but the horse pushes a little forward off his hind legs rather than fully carrying. The twos jumped way off the ground, but Verwimp had a mistake in the one tempis. The very small pirouettes could have had a little clearer canter behind. The final extended trot just powered down the long side. 

I had not see the combination of Pierre Volla and Badinda Altena before and was quite impressed. Though the mare was a bit tense, she showed lots of talent and pulled a 70.532%. The mare showed extended trots with lots of expression in front and that stepped under well behind, but which lacked a little suspension. The passage is big, with the mare pushing off behind to make it possible for her to really lift up in front. The active piaffe moves quite forward. The transition to canter from passage was messy. The tempi changes were uphill but tight in the body. Volla did a nice job keeping the mare's huge passage down the final line rhythmical and uphill. 

FEI European Dressage Championships 2015 - Grand Prix

On the first day of the Grand Prix, a few of the championship regulars have had days short of their best, while some of the newcomers—like Jorinde Verwimp and Emilie Nyreröd—really shined. The second day, a few bobbles in the Dujardin's Grand Prix lost Great Britain the gold to consistent quality rides from the Netherlands, but her overall top class riding allowed her to eek out a win. Undercover was on his usual good form and pulled off second and Desperados landed in third, with Bröring-Sprehe not quite able to keep his big piaffe and passage completely regular.


Ludovic Henry & After You (FRA): 68.629%

• After You is a very impressive mover with lots of knee-action. Henry got a very high degree of crossing and swing in the trot half-passes, though they were slightly unbalanced. The flying changes were really uphill and dynamic. Overall, the movements are ridden with a high degree of expression, but there are persistent tiny errors in balance, regularity, or contact that prevent really high marks. 

Jorinde Verwimp & Tiamo (BEL): 71.086%

• After a nicely powered trot tour, Verwimp had some issues in the first piaffe-passage transitions, which were rather abrupt and unbalanced. At times the horse could reach a little better into the bridle to keep an even more uphill balance. The canter zig-zag showed clean changes of direction and a very good quality of the canter. The final extended trot was very nicely uphill and ground-covering. The final piaffe was clean, but a little quick, while the passage was strong and showed lots of elevation. 

Rikke Svane & Finckenstein (DEN): 67.743%

• Svane rode a very fluid, clean trot tour. Finckenstein has a bit of a tendency to get a bit out behind in his movement. The extended walk was nicely forward and relaxed in the body and would have been even better if Finckenstein were reaching a little more forward into the bridle. The second piaffe-passage tour was cleaner than the first. The tempi changes were a little flat and there were a couple errors in the ones. At times in the canter the stallion gets a bit tense behind the saddle and tends croup-high. This created a minor errors in the flying change between pirouettes and right before the transition to trot. 

Patrick van der Meer & Uzzo (NED): 72.400%

• Van der Meer had a bit of a rough warm up around the outside with a few strong half-halts for the hot Uzzo. The gelding has incredible shoulder freedom in the trot, making for lovely extended trots. However, throughout the test the horse was a bit behind the vertical, taking away especially from the otherwise impressive extensions. In the passage tour, Uzzo was not quite bringing his hind legs under enough to power the elevation he showed in front and lost the rhythm. The flying change at the end of the extended trot had an error. The canter zig-zag was balanced, but though a tiny bit hurried. The canter pirouettes were small, active, and uphill—a definite highlight of the test. The final passage was much more engaged, though still a bit irregular. Given the tensions, the test seemed a bit overscored. 

Michael George Eilberg & Marakov (GBR): 69.943%

• Marakov entered a bit impressed by the atmosphere in the big stadium and Eilberg's early trot work appeared a bit conservative. The horse was tense and braced in the rein back. Marakov has a very upright neck and should ideally reach more into the bridle at times. The passage and piaffe was very smoothly ridden, though in the piaffe, the horse should come more under himself behind. The transitions were effortless. The extended walk had limited overtrick. The two tempi changes were ground covering, but could have strided more uphill. Eilberg had a late change in zig-zag and then the one tempis were quite short, and one jumped together behind. In the first canter pirouette, Eilberg lost the canter rhythm at the end. The final passage was lovely and springy. 

Emilie Nyreröd & Miata (SWE): 71.829%

• While she had a nice compressed, square halt, Nyreröd's transition in showed a little trot step. In the trot half-passes, there should have been more bend and the horse's gait was a little passage-y. The passage had very good engagement behind, but every now and then does a double-beat behind. The canter was very active behind overall, though in the zig-zag, Miata could have shown more energy. The flying changes were big and uphill. The canter pirouettes were small and uphill but didn't show any bend and so were not totally balanced in their rotation. The transitions into and out of piaffe were superb. 

José Antonio Garcia Mena & Norte Lovera (ESP): 68.711%

• Norte Lovera is a lovely relaxed mover with an expressive front leg in the extended trot. Though the trot half-passes didn't have a high degree of suspension, Norte Lovera crossed with beautiful suppleness. The first piaffe got a bit deep in the bridle, though it showed amazing activity. The extended walk didn't have much overtrick, but stretched nicely into the bridle. A number of the transitions—in and out of the first halt, out of the rein back, and into the second passage—were weak. A number of the tempi changes got croup high, which was a shame, because the seemed to have the potential to really reach up and forward. The canter pirouettes were sitting, but hurried. The final centerline was absolutely top class. 

Jessica von Bredow-Werndl & Unee BB (GER): 75.186%

• This combination was in a totally different class than any of the rides preceding her. The half-pass right could have show a bit truer bend. The rein back was crooked. Von Bredow-Werndl rides the extended trots beautifully, with the horse powerfully striding up into the bridle. Unee was very uphill in the passage, but lacked a bit of engagement behind. The piaffes were rhythmical, if a bit small. Unee showed some tendency to dive in the two-tempis resulting in an error behind halfway through, despite Von Bredow-Werndl's best efforts. The one tempis were very good. The pirouettes were small and controlled but did not have the cleanest canter rhythm in every step. The final passage was much more powerful from behind than the earlier ones, making for a strong finish. 

Elena Sidneva & Romeo Star (RUS): 68.443%

• Overall, this pair had a very classy test. The trot tour showed consistently high quality gaits and correctness in the movements. The first passage was a bit arhythmical. The canter work was smooth except for a couple errors in the otherwise big, uphill one tempis. Though the final piaffe was a little sticky, the passage was big and expressive. 

Mikala Münter Gundersen & My Lady (DEN): 70.257%

• Münter Gundersen began with nice fluid trot work, doing a nice job producing a sense of power from My Lady. She had a problem with the mare collapsing in the bridle before the rein back. In the second piaffe, the mare lifted her legs way off the ground, though it would be improved with the mares weight being shifted more to her haunches. Münter Gundersen rode a lovely open extended canter and relaxed transition back to collected canter. The ground covering tempis could have been a bit lighter in front. The pirouettes were slightly off the centerline. The final extended trot was excellent. 

Diederik van Silfhout & Arlando (NED): 75.814%

• Arlando had the most impressive front leg, but in the extended trots it wasn't quite matched behind. The trot half-passes were nicely bent and crossing, but a little braced in the contact. The horse is looking more comfortable staying up in the frame. The first piaffe passage tour had lots of power, with the horse's knees almost at his nose, without losing the rhythm. The piaffe could be a little more on the hind legs. Before the two tempis, Arlando got tight behind the saddle and swapped behind for a stride and there was a similar error at the end of the extended canter. The canter pirouettes were tiny and showed super sit, but were rather tense. Though the transition to passage was a little unsteady, the rest of the final centerline was really powerful. 

Fiona Bigwood & Atterupgaards Orthilia (GBR): 75.800%

• This mare is really impressive. The first extended trot floated powerfully across the arena. The trot half-passes were excellent, though the mare was opening her mount a little from tension. In passage and piaffe, Orthilia lifted herself way off the ground. Though she leans just a little forward in them, the power comes from behind. The extended walk showed a little of the mare's tension, but the gait still had overtrack. In the two tempis, the mare was a little hesitant, but Bigwood rode them cleanly. The ones were straight and ground-covering, but could have been more relaxed in the body in each stride. The mare shows talent for sitting in the canter pirouettes, but got a bit deep in the bridle as well. The combination finished on another dynamic piaffe and passage, and Bigwood was thrilled. 

Minna Telde & Santana (SWE): 68.714%

• Telde started out with high power, but unfortunately it was a bit more than the stallion could sustain and so the extended trot showed some irregular strides. The passage got a little too open leading into the piaffe making for a difficult transition. The piaffes were rhythmical, but Santana does not pick his feet up that much in them. The canter in the two tempis was excellent. Santana gave a huge resistance in the bridle leading into the one tempis, but Telde recovered remarkably quickly. The final passage was big and regular, though slightly out behind. 

Jose Daniel Martin Dockx & Grandioso (ESP): 71.343%

• A huge shame: the stallion cantered in the first steps of the extended trot. The trot half passes needed better bend and the trot in them was a touch flat and hurried. The first piaffe was super but didn't show quite enough steps. The collected walk was clear and settled. Grandioso tried to piaffe early resulting in a bit of a stutter step in passage, but the piaffe was excellent again, with the stallion really lifting his legs. Martin Dockx had an error in the two tempis and then rode a rather conservative extended canter. The canter pirouettes were very small and well balanced in their rotation, though the canter could have been a bit more energetic. 

Isabell Werth & Don Johnson (GER): 74.786%

• Don Johnson looks as powerful as ever and Werth rode in on an immaculate centerline. As expected, the half passes powered sideways, though Don Johnson got a bit braced to the left. In extended trot, the horse steps really well under behind to match his impressive from leg. The passage was nicely elevated and rhythmical, if a bit short in front. The second passage was even better, though the piaffe didn't show enough weight on the hind legs. Isabell had an unfortunate error at the beginning of the otherwise powerful one-tempis. The canter pirouettes were small, but Don Johnson dropped his shoulder a bit. The final centerline showed top power and well-ridden transitions. 

Katarzyna Milczarek & Dzeko (POL): 64.600%

• Dzeko is a really lovely rangy mover and Milczarek started with a lovely extended trot that got just a hair deep in the bridle. The piaffe traveled forward too far—though it's understandable given the greenness of the horse at this level—while the passage was light and airy. In both the hind legs could come more under the body. The two tempis were big and smooth, but Milczarek lost the canter for a stride on the short side. The zig zag traveled well on either side of the centerline. The first canter pirouette was lovely with a high degree of sit, but in the second, the horse rotated too quickly and lost his balance at the end. I think this has the potential to be a very strong combination in the future. 

Judy Reynolds & Vancouver K (IRL): 69.486%

• Reynolds had quite a nice trot tour with diligent extensions and lofty half-passes. Vancouver's passage is very high quality with lots of elevation. The horse got too much sit in the first piaffe for a stride or two and lost the rhythm. The extended walk was nice and forward. The second piaffe was better, but again was so eager to sit that he lost his rhythm again. The tempi changes were nice and forward, but a little short in the neck, restricting the stride just slightly. Both pirouettes were very small, though the second was not quite as uphill as the first. The last passage was a real highlight and the final piaffe, though it took a tiny step back, was much more rhythmical. 

Daniel Bachman Andersen & Loxana (DEN): 68.857%

• Bachman Andersen rode nice forward trot work, but had some trouble maintaining consistent suspension in Loxana's trot. The transitions between piaffe and passage were very smooth and kept a clear rhythm throughout, but the movements needed still needed to show the mare rotating her hips down so her hind legs could come underneath herself more. The one tempis jumped really nicely up and through when they were correct, but there was an errors halfway through. The canter pirouettes were well controlled in their rotation. The last line of piaffe and passage was solid. 

Anna-Mengia Aerne & Raffaelo v Bene (SUI): 69.443%

• This horse is a little reminiscent of another grey, Ekwador, with his big odd and light contact, though he pushed more powerfully off the ground and sometimes tends towards getting overly deep. Raffaelo v Bene started on a really powerful extended trot, though he could have reached a bit more under himself behind. The half-passes had very good crossing. The horse cantered out of the second extended trot rather than picking up passage. In the passage itself, the horse really lifted his legs and pushed off the ground. The collected walk was short. The piaffe travelled forward slightly, but was sitting and springy. The two tempis showed good ground cover, the ones were forward but showed a little swinging behind. The first pirouette was small and sitting, but lost a bit of energy at the end as the horse stepped too big around; the second was better. The final piaffe was a little deep, but rhythmical and the final passage impressive.

Hans Peter Minderhoud & Johnson (NED): 77.586%

• Minderhoud place this horse in such a lovely position in the bridle, reaching so nicely into the bit throughout. The rhythm of the trot work was totally consistent. The passage was expressive, the piaffe rhythmical and on the spot. The extend walk could have been more relaxed in the body, but Johnson stretched forward nicely. Minderhoud missed the first count in the two tempis, since it looked like Johnson wasn't quite on his aids at the start. The zig-zag was very balanced even as it travelled well past the centerline on either side. The canter pirouettes were very well controlled and balanced. This combination is just a treat to watch.

Carl Hester & Nip Tuck (GBR): 75.400%

• Nip Tuck's basic trot could step more under behind, but the trot half-passes had lovely bend and suspension. The piaffe is more active behind than in front, but very rhythmical. The extended was could have been a bit more forward, but was relaxed through the body. The passage was lofty. The twos were straight and forward, but could have been more uphill. There was an error in the flying change after the extended canter as Nip tuck got a bit slow behind. The ones jumped really nicely off the ground. While the canter pirouettes kept a really clean canter rhythm, they could have been a hair smaller. 

Tinne Vilhemson-Silfvén & Don Auriello (SWE): 75.157%

• On his usually form, Don Auriello looked light-footed in his reaching extended trot. The trot half-passes could have had a slightly more obedient bend. The hind legs still trailed a bit behind. While the piaffe is small, it is rhythmical and Vilhemson-Silfvén gets Don Auriello up in the bridle and closed at the base. Don Auriello had lovely two tempis that were up in the shoulder, though they could have had a bit more air time. There was an error at the end of the one tempis. The last piaffe was the most active behind and the last passage showed a bit more engagement. 

Morgan Barbançon Mestre & Painted Black (ESP): 73.814%

• This combination was a little off their game today. Though the horse was presented beautifully throughout, there were a number of little mistakes that crept in. Barbançon Mestre rode a lovely extended trot, getting her horse to really push across the centerline with good engagement. the passage was very loftily, but Painted Black pulled down a little in front in the piaffe. The collected walk was very good in the strides, but a hair open in the bridle. The second piaffe was much more sitting, but a bit crooked. The light-footed twos had a couple of errors. The bold one tempis were excellent. The canter pirouettes were very active and uphill, the second even more balanced than the first. 

Mattias Alexander Rath & Totilas (GER): 75.971%

• Totilas showed lovely reach in front and good supple bend in the trot half-passes, though the hind quarters trailed just a hair in both. The extended trots appeared conservative. The first passage started well, but Totilas got a bit deep and backward feeling in piaffe, and a bit out behind for a couple strides in the subsequent passage. The extended walk was relaxed. The second piaffe was again a bit quiet, deep in the bridle, and backwards feeling. The two tempis started spectacularly with big reaching stride, but got a little tight in the bridle towards the end. The canter zig-zag was brave and totally balanced. A few of the one tempis were short behind. The first canter pirouette was tiny. The final extended trot stepped short from the left hind. The final passage showed that amazing elevation in the front legs and matched power from behind that is this horse's highlight. The final piaffe was more up in the bridle, but again stepped backward.

Gonçalo Carvalho & Batuta (POR): 70.557%

• Batuta really lifts her legs through all her movements, but the extended trot had nice reach in it without getting hurried. The half-passes flowed nicely. The first passage was a little over-electric making it hard for Batuta to stay totally regular. The second passage was more relaxed, but a little too open. The rhythm of the piaffe was good. Batuta exploded a bit into canter from passage. The canter zig-zag maintained a very good canter through the changes of direction. Both the one and two tempis were very good, though they could have shown a little more elevation in front. The canter pirouettes turned a little quickly. The final centerline showed a huge passage and solid, expressive piaffe. 

Victoria Max-Theurer & Blind Date (AUT): 75.186%

• Max-Theurer produced a really nice frame on this mare. There was a little hesitation in the trot half-pass left. The passage has lots of elevation, but engages a little more in the left hind. The piaffe loses the energy of the piaffe, though the mare stays correctly low in the croup. The collected walk was relaxed with plenty of overtrick. The two tempis were excellent: uphill and and jumping off the ground. The zig-zag looked easy and had lots of energy. The mare was snorting with tension a bit in the one tempis, though they were still quite high quality. At the end, the passage showed a really nice combination of elevation and forward travel and the piaffe was the best of the test. A high quality test.

Inessa Merkulova & Mister X (RUS): 73.800%

• In her horse's high powered start, Merkulova lost her stirrup for a few strides. The trot half-passes reached sideways really nicely, but lacked sufficient bend. The passage is very high quality and the first piaffe has lots of elevation, but the horse leans forward slightly and should instead take more weight behind. Each piaffe started very early despite the fact the horse hardly travels forward. The second piaffe was more uphill and very impressive. The extended canter took nice big supple strides across the arena. The one tempis were up in the shoulder, but a bit deep in the bridle and could have been straighter. The canter pirouettes were really sitting, but could have been better controlled. The final piaffe-passage line was really excellent. 

Anna Kasprzak & Donnperignon (DEN): 72.771%

• Kasprzak rode for really nice power from behind in the first extended trot. Donnperignon was a little resistant in the bend in the half-pass to the right, but the trot had nice suspension in the half-passes. The first piaffe was a small and a bit braced at the base of the neck. The extended walk marched forward well from behind and the horse really moved through his body. The passage tours were good, but Donnperignon wasn't really with Kasprzak in the piaffe today. The two tempis were big and rangy. Overall, Donnperignon stayed a little more open in the neck than usual, though should still open his frame a bit more at times. The one tempis were excellent. The canter pirouettes had super uphill balance, were controlled, and kept an active canter. The final passage was really good, but the piaffe was still small and irregular. 

Edward Gal & Undercover (NED): 82.229%

• Gal had a very clean entrance, but the trot was already needing to show a little more engagement. The trot half-passes shows lots of supple crossing and very good bend. The rein back was quite clear. Both extended trots were conservative, but this allowed a little better hind leg. The piaffe and passage looked like its usual active clockwork, though Gal didn't really ask the horse to sit in the piaffe. The extended walk was very relaxed, but Gal gave away the contact. Undercover got quite tight in the neck in the second passage tour, but opened up a little for the piaffe. Undercover pulled down and tight in the neck a bit in the two tempis after a bit of a tense preparation. The canter zig-zag really travelled sideways effortlessly. Undercover was again tense in the preparation for the ones with Gal really having to supple him, though they were clean. The first canter pirouette was a little more uphill than usual, but turned a bit around the middle. The second was better placed, but not as up in the shoulder. The final passage was nicely lofty without Undercover snatching his legs, but needed to be more open in the frame. 

Charlotte Dujardin & Valegro (GBR): 84.429%

• Dujardin might have had a touch of nerves for her ride because there were some uncharacteristic bobbles. Valegro's trot extensions were on top form with lots of power from behind and huge reach in front. The half-passes had lots of suspension and ideal bend. Valegro was a little resistant in the bridle for the rein back. There was a double beat in the first piaffe, which was otherwise springy and regular. The extended walk was quite relaxed, but could have a bit more overtrack. The second passage and piaffe was effortless regular and elevated, with smooth transitions. There was a little bobble in the transition from passage to canter. The canter zig-zag was absolutely precise in its movement sideways, but Dujardin had a counting error. Dujardin also had a mistake in the beginning of the ones. The canter pirouettes were super. The final passage could have been a little more up in front, but the passage and piaffe were absolutely supple and regular. 

Patrik Kittel & Deja (SWE): 74.571%

• This mare was looking more relaxed today in her extravagant movement. In the trot half-passes Deja really reaches sideways in front. The mare dragged her feet a bit in the rein back. Deja dropped really early into the piaffe and struggled a bit in the transition back up into passage. The extended walk had lots of overtrack and suppleness in the body, though needed more contact with the bridle. Deja sat and closed at the base so much in piaffe that she struggled to keep the rhythm and activity a little. The extended canter was really ground-covering without tension, though the mare was a bit low in the bridle. The ones were really excellent, jumping forward from behind. down the centerline the passage was really easily airy, but the piaffe is still in need of development. 

Beatriz Ferrer-Salat & Delgado (ESP): 77.186%

• Delgado has a very powerful extended trot from behind, but could reach more under his body behind. The trot quality in the half-passes was very good, but the one to the right had hardly any bend. Delgado had a high degree of suspension in passage, and an active piaffe that needed to come more under behind. The extended walk needed to be more ground-covering. The very good second piaffe had more sit. In the two, the change to the left was excellent, but the one to the right had a bit of a hitch, though throughout they were uphill and ground-covering. The ones jumped a lot from side to side and needed to cover more ground.  Delgado jumped together behind a bit in the canter pirouettes, bout was really sitting. Ferrer-Salat had an unfortunate break to canter in the last extended trot, but a high class final line. 

Kristina Bröring-Sprehe & Desperados (GER): 79.986%

• Bröring-Sprehe rode absolutely top class half-passes with really supple crossing. The rein back was a tiny bit tense and hurried. Desperados's huge passage was just a tiny bit irregular and the stallion got so much sit in piaffe that he lost the rhythm for a stride. Again, there was some irregularity in the enormous second passage. The twos started absolutely lovely and uphill but lost just a tiny bit of energy towards the end. The canter zig-zag was smooth, but not totally centered. The one tempis were beautifully uphill and the canter pirouettes really uphill and balanced. The final trot extension could have been a bit more under behind. Again there were a couple double beats in the final passage, but the piaffe was more consistent. 

CDIO Aachen 2014 - Grand Prix Special

Matthias Alexander Rath & Totilas: 84.529%

• Totilas looks better than ever. The trot in the half-passes were amazing, though the half-passes are not absolutely supple in their crossing and the haunches almost trail. The passage was super regular and pushing up off Totilas's hind legs. In extended trot, Rath could ideally have asked for more power from behind, though the strides are not exaggerated in front. The extended walk was striding forward very well, but could have stretched more into the contact. The first piaffe had some backward steps and the second had a couple steps where the stallion was climbing in front. The big two tempis were not quite straight and the improved ones could still have covered more ground. The second pirouette was carried on the hind legs, but turned a bit quickly. The final centerline of passage was incredible, though the piaffe again had a bit of backward tendency. 

Charlotte Dujardin & Valegro: 83.157%

• Valegro has incredible talent for crossing in the half-passes. The wonderfully elastic passage could spring a touch more under from behind in a few stretches. The extended trots were very light in front and powerful. The rhythm of the extended walk has improved, but the strides could still be bigger. The first piaffe was very early and a little forward, but had amazing sit. Charlotte prepared beautifully for the transition from passage to canter, pushing him into the correct bend for the canter lead even as she turned across the arena. The two tempis were beautiful—Valegro jumps fluidly up and forward into each change—and secure, but there was an error in the otherwise spectacular ones on the diagonal. The pirouettes were tiny and controlled. The final passage was the best, but there was a hesitant stride in the transition to the final piaffe. 

Helen Langehanenberg & Damon Hill: 82.078%

• Damon Hill unfortunately lost some points where he normally rakes them in with a stumble in the first extended trot. Sometimes it took Langehanenberg a few strides to get Damon Hill into his spectacular passage. The extended walk was without question the best in the class. In the first two piaffes, Damon Hill was curling a bit and opening his mouth, even though the sit and elevation of his knees was super. The two tempis were round and ground-covering. The extended canter showed beautiful flexibility in the horses body as he took enormous strides. The one tempis on the centerline were a little tight and Damon Hill was not totally balanced coming out of the very collected and active pirouette right. 

Isabell Werth & Bella Rose: 81.51%

• Bella Rose has a bit of a tendency to pull down in the extended trots, though she powers forward with nice long strides. Werth produced in the half pass left unquestionably the best half-pass of the day and the one to the right was also amazing. The passage springs way off the ground. The extended walk was a little slow. Bella Rose pulled down for a couple steps of the piaffe, but Werth brought her up again and she closed a bit more at the base. There is no change in rhythm between piaffe and passage. The canter half-passes were excellent, but the flying change at the end was a bit stilted. In the twos, the mare got a bit too up and down in her movement and there was an error. The expressive ones will score higher when Bella Rose can relax more into them and cover more ground. The first pirouette was beautifully controlled; in the second, Werth slightly lost the haunches. The final line of piaffe and passage was absolutely clean and expressive. The mare's few little errors are not from loss of balance—which sometimes happens with Totilas—but from tension. 

Tinne Vilhemson-Silfvén & Don Auriello: 79.039%

• Don Auriello's extravagant front leg is unfortunately not quite matched behind. In passage, his knees were elevated, but his hind legs were trailing a bit slowly. The trot half-passes were lovely. In extended trot, he could have reached a bit more under behind. The extended walk was a bit stilted. Vilhemson-Silfvén rode piaffes with a high degree of sit, though Don Auriello was minimally active behind. The two tempis were ground-covering, but a bit quiet; the ones, super. The tiny canter pirouettes jumped together a bit behind. The final passage was the best Don Auriello has done with the hind legs coming more up and under. 

Kristina Sprehe & Desperados: 77.765%

• The first of Desperados's super reaching trot extensions did not look quite as elevated in front as it could be. The half-passes were stunning, with the stallion crossing the arena with a flowing trot. The early passage lines were top class. The energetic extended walk looked a little tight in the body. Desperados tripped into the first piaffe and the third turn of passage after the walk was irregular with the horse's haunches swinging out. In the first two piaffes, though Desperados picked his feet way up off the ground, he could have shifted a bit more weight to his haunches. The canter half-passes were fantastic, as were the tempi changes. The canter pirouettes were sitting but quite big. The final extended trot was the best, with Desperados really lifting his shoulder. While final piaffe was the best, the passage leading up to it was so big that it became quite irregular. 

Adeline Cornelissen & Jerich Parzival: 76.216%

• Cornelissen was on today. The extended trots, though flashy in front, were rather short in the neck and the strides behind. The passage lines were ridden with lots of controlled elevation. The half-passes flowed sideways. Cornelissen tried to correct a slightly stuck Parzival into the first piaffe, but he instead canter tensely and no piaffe was shown. The second was spot-on with its rhythm, but still not sitting. Parzivals tempis are incredibly fluid. The final passage was huge, but Parzival was not quite reaching into the contact and bopping his head. 

Laura Graves & Verdades: 74.784%

• Verdades drove powerfully forward in the extended trots. He has a very loose way of going which made for a particularly stunning right half-pass, though at times it means he loses some suspension in the passage. The passage showed lots of elevation in the horse's limbs but it was sometimes a bit too open. The piaffe actively sprang between diagonal pairs, but would have been improved if the hind legs came more under. The canter half-passes were beautifully fluid and uphill. Verdades reached up from the shoulder very well in the tempi changes, but could score even higher if her jumped up and forward a little more. The canter pirouette left was superbly sitting; the one to the right was a hair bigger. The final piaffe was more sitting, but Verdades got a bit crooked as he struggled to hold it. Graves finessed it beautifully into the final line of passage. 

Michael Eilberg & Half Moon Delphi: 74.706%

• The highlight for this combination was without doubt the passage, where the mare lifted way into the air. Delphi gets a little slow in the trot half-passes.  The extended trots are energetic from behind but could be more uphill. The first piaffe was a little heavy in front, the second better. In both, Delphi closed at the base. The change between canter half-passes was not quite clean. The one tempis were nicely engaged, but the ones to the left were slightly bigger than the ones to the right. The pair had an error in the ones on the centerline. The passage on the centerline was stunning and Eilberg's contact was soft. 

Anna Kasprzak & Donnperigonon: 73.941%

• Donnperignon's half-pass left flowed sideways; the one to the right was also very nice but the horse's haunches were trailing a little. The third extended trot was super: uphill, powerful, and reaching. Donnperignon's small piaffes looked quite rhythmical. The two tempis covered the full diagonal, but there was an error in the ones. The extended canter stretched nicely in the back, but needed a little more open frame. The first canter pirouette started very well, but Donnperignon lost some energy in it as he got a bit too high in the neck. Other than a slightly slow transition out of piaffe, the final line was excellent. 

José Daniel Martin Dockx & Grandioso: 73.706%

• Grandioso does not have a hugely scopey trot, but Dockx rode very softly, correctly, and precisely. The passage could carry a bit more from behind. The first piaffe was a little forward, the second more in place. Both stepped neatly up between diagonal pairs. Grandioso swung his haunches some on the two tempis. The ones were very good on the diagonal, but Dockx missed one down the centerline. The transitions in and out of the final piaffe were wonderfully smooth. 

Valentina Truppa & Eremo del Castegno: 73.078%

• Eremo del Castegno is a light-footed and springy mover despite being quite heavy in the body. This made for a super passage, but an extended trot that could have used to push a little more forward. The trot half-passes crossed easily across the arena. Eremo del Castegno showed some resistance in the contact in collected walk, but Truppa picked up a super piaffe—sitting, with lifted knees. The change at the end of the canter half-passes was not clean and Truppa had errors in the twos. The ones started better, but got a bit unbalanced and exaggerated towards the end. There was an error in the tense ones on the centerline. The pirouettes were nicely sitting, but the first lost the haunches slightly and the second had a small rhythm error. The final centerline left a nice impression. 

Adrienne Lyle & Wizard: 72.902%

• Wizard's extended trots are very flashy in from, but he could step more under from behind to lift his shoulders more. The half-passes have excellent elevated crossing. The one to the right could have been more flowing. Wizard's active hind leg produces an energetic passage, though, again, he could come more under behind. The transition to the first piaffe was settled. The piaffes were regular, but looked rather tense in the body. The transitions out of piaffe were better than usual, but Wizard still trailed a hind leg. While the tempis were smooth, they could have been freer in the shoulder. Lyle rode tiny pirouettes. The final passage was the best, with Wizard creating suspension from a carrying hind leg.

Morgan Barbançon & Painted Black: 72.176%

• Painted Black has the potential for extensions to blow the doors off, but the first one was rather quiet. Still, they were nicely matched with even reaching strides in front and behind. The passage was light and easy. The piaffes were good with Painted Black lifting his feet nicely. Each transition in or out, however, had a hesitation or double beat. The stallion jumped forward well in the tempi changes, but was a hair deep in the bridle in them. There was an error in the last of the ones on the centerline. The pair is looking back on form after a long competition break, and there still appears to be room for the stallion to step into a higher gear now that they are back in the swing of things.

Hans Peter Minderhoud & Glock's Flirt: 72.176%

• Flirt has a high-suspension trot and Minderhoud rode very dynamic half-passes. The passage was springy but a bit out behind, especially on the left. Flirt has good reaching trot extensions but Minderhoud holds him too short in the neck to score higher. The piaffe looked more cleanly diagonal than even a few months ago, but it is quite tight in the neck. The changes jump off the ground, but could show a cleaner three beat canter. Minderhoud missed some changes between the pirouettes. The final piaffe was quite forward and the horse got a bit wide in front. 

Marcela Krinke-Susmelj & Smeyer's Molberg: 72.000%

• After a lovely energetic and relaxed entrance, Molberg gave a big spook at the end of the first extended trot. Molberg showed really nice power from behind in the trot tour, though he doesn't have the highest degree of shoulder freedom. The passage was very cleanly rhythmical and easy-looking. The extended walk could have had more reaching strides, but the collected walk was settled. Both piaffes were active enough and regular, but not sitting. Molberg stretched sideways across the arena in his energetic canter half passes. The canter pirouette left was wonderfully controlled but not bent. There wasn't really any bend in the pirouette right either, and the canter rhythm was not as clean. The final centerline was perfect in the beat of the piaffe and passage. Krinke-Susmelj produced a very polished test with a horse that appeared willingly attentive and energetic. 

Lone Bang Larsen & Fitou: 71.667%

• While the extended trots were not super powerful, the passage was elegantly springy. Unfortunately, though it was rhythmical, Fitou had a tendency to step more under with the right hind. The horse sits and steps up very well in piaffe. The two tempis jumped nicely off the ground, but after an error at the beginning of the ones caused them to get a bit flat. The extended canter was sticky. The final line was very good. 

Terhi Stegars & Axis TSF: 71.608%

• This pair had a very smooth and harmonious trot tour. The passage is springy, but sometimes got a bit out behind. The first piaffe did not start quite straight and improved when Stegars got her stallion in alignment. In piaffe, he is nice in the frame, but not very active. The canter half-passes were very good, the tempis were relaxed and expressive. Axis was not totally balanced in rotation in the canter pirouettes. This was a top test for this pair. 

Katja Gevers & Thriller: 71.529%

• Thriller's trot is not the most fluid and the rhythm gets quite quick. The horse springs very much off his hind end in passage. Thriller did lengthen his very short frame nicely in the extensions. The piaffes were pleasant and sitting, and the second was more in place than the first. The change at the end of the canter half-passes was not clean. The tempis were fluid, though Thriller could show more shoulder freedom. The pirouettes were small and uphill. The final piaffe was much more active, with the energy coming very well from behind. 

Lars Petersen & Mariett: 70.843%

• Petersen has quite a nice trot tour with flowing, open extensions. The trot half-passes were slightly earthbound. The passage is rhythmical and elastic. The two tempis were very inconsistent: some were beautiful, some were swinging in the haunches, one was short behind. The ones were lovely. Sometimes Petersen gives the impression that he is the one working hard to hold his mare together and the mare gets her tongue up a bit. The first pirouette turned too quickly, and because the mare was out of balance, Petersen's first aids for the one tempis did not go through. The final line of piaffe and passage was top notch, with the mare showing the most lightness in front.

Mikala Münter Gunderson & My Lady: 70.529%

• This pair's test looked a bit hectic today. The potential was there in the movements, which Münter Gunderson produced with lots of energy, but they didn't give an impression of total harmony. The horse wasnt against her rider, just not settled. In the extended trots mare did not totally carry herself, making for a rough sit for Münter Gunderson. My Lady really lifts her knees and crosses in the half-passes, though they could be more fluid. The passage comes way off the ground, but is not always totally regular. Same for the active piaffe. The canter pirouettes were a bit big.

Jeanna Högberg & Darcia: 70.294%

• Darcia takes nice big strides in the extended trots, but tends to hand on the bridle slightly rather than opening her frame. The half-passes were good in their crossing, but lacked some suspension. The mare's hind leg in passage is super. The piaffes were active, but Darcia pushed too much off her front legs and traveled forward. Darcia changed behind before the beginning of the twos. Högberg controlled the pirouettes beautifully as they turned and the mare stayed active. The final piaffe was not in place at all. 

Claudia Fassaert & Donnerfee: 69.784%

• Donnerfee has a lovely light-footed trot with a hind leg that steps way under. In the extended trots, though, she could also reach more forward in front. In passage, the mares steps get a bit open. The first passage was hesitant and the transition out was weak. The second piaffe was rhythmical but small. The tempis flowed very nicely across the diagonal. The pirouettes were a hair big as the haunches swung out a little in a stride. 

Renate Voglsang & Fabriano: 69.725%

• Voglsang rode Fabriano on a very light contact in a frame that was a bit too open. The stallion tracked up very well in his ground-covering extended trot. The piaffe was airborne, but a bit too forward much of the time. The first piaffe had a step backwards and Fabriano closes at the base by getting heavy in front, rather than sitting. There was an error in the twos, which could have been more on the hind leg overall. The ones were more uphill. The canter pirouettes needed to come up more in front.

Marlies van Baalen & Miciano: 68.529%

• Miciano showed rather pony-like extended trots that were short in the bridle. The horse comes war under himself behind in passage and really lifts his knees. The half-passes were very good, though the trot before and after was rather hectic. Though Miciano brings his croup under for the piaffe, he struggles to find a rhythm. The canter half-passes had a very quick rhythm. Van Baalen has an error in the ones on the centerline. The pirouettes were nicely on the haunches. 

David Marcus & Chrevi's Capital: 67.843%

• Capital has nice reaching extended trots, though the rhythm of them wass not totally secure. The half-pass right was not quite parallel. The passage was nicely uphill. Marcus had a resistance from Capital leading into the second passage, which, though it had more elevation and energy than the first, was a bit against the hand. The scores in the canter tour are limited by the poor beat of Capital's collected canter. The tempis were straight and airy, though there was an error in the ones on the centerline. The first pirouette was small but unbalanced, the second very good. After the last piaffe at X, the passage was nicely elevated. 

Julie de Deken & Lucky Dance: 66.490%

• De Deken had a very pleasant trot tour, but throughout, the horse could have come more onto his haunches and moved with a bit more power. This weakness also applied to the passage. The transition into the first passage stepped forward instead of up and de Deken could not prevent it from traveling several meters forward. The one tempis were a bit hectic and there was an error in the series on the centerline. The good final passage had more suspended elevation. 

José Antonio Garcia Mena & Norte Lovera: 65.216%

• This horse has a lovely extended trot, really reaching up and out in front. The crossing in the half-pass left was a bit restricted. When the passage was good, Norte Lovera was springy and almost brought his knees to his muzzle, but he often broke into canter or lost the rhythm. There was no second piaffe as the horse cantered out of passage right past the centerline. There were errors in the twos and the ones, which was a shame because the horse showed very nice uphill strides in them. The canter pirouettes were small . Unfortunately after the early mistakes in passage, the other work started to look unsettled. The final piaffe was a little forward but otherwise really super.

Caroline Roffman & Her Highness O: 61.314%

• Her Highness is quite restricted behind in extended trot. The passage gave the appearance of lots of elevation, but there were a few double-beats behind. The transition from collected walk to piaffe was hesitant, though the first piaffe was more settled than the second. The nice picture of the two tempis was marred by tension; the ones were rather short and hurried. The mare broke in the second pirouette and then there was a rhythm error in the final extended trot. The over-cooked mare then resisted by traveling several meters sideways. In general, the picture for this mare could be more fluid and less intensely mechanical.

CDIO Aachen 2013 - Grand Prix Freestyle

Langehanenberg again won her class in a league of her own—now we wait for the European Championships to see if she can be challenged!


Helen Langehanenberg & Damon Hill: 85.300%

• Beginning her kur with piaffe, Langehanenberg established a good rhythm but from the front it was clear that the poll was not quite the highest point. But the piaffes only got better. The passage half-passes sprang lightly sideways. The piaffes following the passage half-passes were the most up in the frame. In extended trot, Damon Hill took enormous uphill strides.  In a beautiful curved line of extended walk, Damon Hill strode across the arena, swinging softly through his back. Langehanenberg's transition from collected walk to extended canter was exactly on the music. The canter pirouettes were a bit big and not as up in the shoulders as they could have been, though Damon Hill still lowered his croup significantly. While the flying changes lost some of Damon Hill's impressive reach in front they still jumped beautifully into the bridle. The last piaffe and extended trot were pretty much perfection. 

Isabell Werth & Don Johnson: 82.075%

• The difficult and inconsistent Don Johnson was on very good form today. In his powerful piaffe and passage, he stayed quite steady in the nose throughout the test. The trot half-passes had lots of reach in front and push from behind. At times, Don Johnson dragged his right toe in his expressive passage. The canter half passes were as good as those in the trot. Werth's small canter pirouettes turned in a nice rhythm, but could have used a touch more uphill activity. Werth finished on an extended trot that not only had amazing power from behind and reach in front, but also stayed nicely up in the shoulder. 

Natalie zu Sayn-Wittgenstein & Digby: 80.900%

• Sayn-Wittgenstein's test began with her rather stiff-legged, but otherwise totally correct, trot half-passes. Digby's uphill frame and lowered croup made every piaffe beautiful. Sayn-Wittgenstein's test included a canter half-pass to a circle of extended and collected walk to another canter half-pass in which all the transitions were effortlessly ridden. Digby's tempi changes were bouncy and uphill. In both directions, the pirouettes were tiny and sitting. Sayn-Wittgenstein's test had a very high degree of difficulty, which was perfectly suited to her horse's excellent training and rideability. Their ride finished on a seemingly effortless piaffe pirouette and final passage.

Anna Kasprzak & Donnperignon: 80.475%

• Kasprzak's test began with her super pirouettes: they were both small, with Donnperignon sitting deeply. Transitioning to trot work, Kasprzak rode enormous extensions that flowed across the arena. Trying to get more expression in the first piaffe, Kasprzak had some trouble with its rhythm. The trot half passes were light footed and flowing. In the second piaffe, Donnperignon had better activity and rhythm, but still did not lift much off the ground. The walk work was active but a little tense, limiting the over-track. The canter half-passes stepped sideways nicely, but became slightly flat. Kasprzak had some trouble continuing her lines of excellent changes today, especially as she had to steer Donnperignon away from the rail on her choreographed curved lines. The final passage was supple and elevated. 

Andreas Helgstrand & Akeem Foldager: 79.175%

• Helgstrand and Akeem Foldager started their test with a passage half-pass and change of direction to trot half-pass. The passage half-pass achieved a high degree of crossing without losing any expression. The trot half-passes, however, were slightly slow. The first piaffe not only had incredible engagement, but also stayed in rhythm. Unfortunately, Akeem Foldager became stuck in the second piaffe. The horse was not good about stretching in the neck for the extended walk, but was striding with plenty of over-track. Coming out of the walk, Helgstrand rode a canter pirouette that was uphill but very big. Akeem Foldager swung his haunches less from side-to-side in the two-tempi changes, allowing them to jump through nicely. The one-tempis became too deep in the neck and lost ground cover, so Helgstrand missed a change. Since the horse was stuck in the tempis, the canter pirouette that followed was also a bit slow in the rhythm, though small. Often in the canter Helgstrand had little issues controlling the placement of the haunches, weakening some of the movements. Helgstrand ended with two 360º turns of piaffe pirouette, with a change of direction, and an enormous passage. 

Steffen Peters & Legolas: 78.675%

• Peters's ride started with engaged but relaxed lines of piaffe and passage where he achieved activity without the croup coming too high. He then transitioned to canter work. The flying changes were straight and jumping, but labored in the rhythm. The first pirouette was not terribly uphill. In the ones, Legolas stopped doing changes towards the end as he lost his forward momentum. Both canter half-passes were soft with lovely band and good crossing. Peters's freestyle includes his classic canter pirouette to piaffe to extended walk transitions. The extended walk was very good—relaxed in the back with lots of over track. Peters is another master of the half-pass with Legolas reaching softly sideways across the arena. Their final piaffe pirouettes and passage had a good rhythm and lots of elevation.

Anabel Balkenhol & Dablino: 78.250%

• Balkenhol made a very sunny choice of music for the slightly anxious but bubbly-moving Dablino. The test had an interesting pattern of trot half-pass directly to piaffe. Both trot half-passes looked slightly stuck in their sideways motion. The passage work, including passage half-passes, was all springy and rhythmical. The walk work was tense. In both directions, Balkenhol rode uphill canter half-passes that jumped positively sideways, followed by slightly unbalanced pirouettes. Dablino broke into canter for a stride in the last extended trot. His piaffe and passage on the final centerline showed beautiful self carriage and expression. 

Jose Manuel Martin Dockx & Grandioso: 78.175%

• Martin Dockx chose to start his freestyle on one of the horse's strengths: a powerful long-strided extended trot. He then began his passage-piaffe tour, which was energetic but quite short in the neck. In both piaffe and passage, Grandioso lifts his legs plenty but should come under more behind. In the trot half-passes, the horse struggles some with the crossing. After an extended trot, Martin Dockx rode a beautiful piaffe half-pirouette that achieved a perfect active rhythm. Grandioso's walk was rather tense and short. The canter pirouettes were small but a little flat. The two-tempi changes ridden on a circle were very evenly engaged and expressive. Dockx ended with one-handed Piaffe and passage on the centerline. 

Danielle Heijkoop & Siro: 75.100%

• The first movement of Heijkoop's test was a sluggish trot half-pass, which she followed with Siro's excellent passage and piaffe. The piaffes were still a bit tight in the neck, but showed very good sit and lots of spring. Siro opened his mouth quite a bit in his relaxed extended walk. The canter pirouette left was small and active, but Siro dropped his back slightly in it. The canter pirouette right was enormous, but better in the frame. Siro became rather short stepping in the tempi changes, despite their ground-cover. The extended trot was forward moving but without sufficient over-track. The pair ended on their strength: a straight line of balanced piaffe and passage. 

Tina Konyot & Calecto V: 74.900%

• Due to video buffering, I missed the trot work of Konyot's freestyle. What I did see was the pair in their usual nice form: very dynamic, but not always carrying enough weight in the horse's haunches. Calecto's pirouette right, though small, was rather inactive behind. The left canter pirouette was very good: active and sitting. Konyot rode two-tempi changes on a half circle which became rather croup high and at least one was short behind; however, she made a seamless transition to beautiful jumping one-tempis on the diagonal. Towards the end of the test, the expressive passage became very croup high, and a tired Calecto made some minor rhythm mistakes in piaffe and passage. 

Simon Missiaen & Vradin: 73.650%

• Though Vradin was a little flat in his carriage throughout the test, the horse moved with good expression and energy. Missiaen rode lots of power in his trot half-passes, but they were rather labored and became irregular. Vradin's canter pirouettes were small and active, though they should be slightly more uphill. Missiaen's choice of music, pop-y versions of well-known tunes, was not the most exciting and did not add to the movements. The two-tempi changes were ground covering and flowing, but not very uphill. The piaffe-passage tours at both the beginning and end were quite nice, though Vradin should step under more behind. 

Diederik van Silfhout & Vorst D: 72.825%

• Silfhout began his test with a sticky transition into a nice curved line of passage and piaffe. In piaffe, Vorst shows a nicely lowered croup but still needs to have more lightness in front. The very good half-pass left stepped powerfully sideways with lots of crossing. Silfhout chose to ride very short canter half-pass lines with a change of direction: they were executed in a nice canter, but were not remarkable. The classic extended-canter-to-pirouette line was successful for Vorst. The horse lengthened his strides nicely for the extended canter and kept a good rhythm in the pirouettes.

Jan Ebeling & Rafalca: 72.025%

• For Aachen, Ebeling showed off a new freestyle of contemporary electronic music with a very catchy and appropriate beat. He began down the centerline with a series of straight, uphill, and diligent one-tempi changes that were exactly on the music. The canter pirouette at the end of the line lost some energy and uphill carriage. Ebeling then attempted a curved line of twos, which started out a bit downhill and ended with a resistance to the bridle. But he put the mare together again and rode beautiful canter half-passes with changes of direction: they had lots of crossing and good engagement. His next set of twos was clean but a little flat. Rafalca's walk was very tense and short. The piaffes, though not huge, were in perfect rhythm. Rafalca's rather limited extended trot was nicely uphill. Both trot half-passes were ridden in a powerful trot and it was a shame that Ebeling only rode them on very short lines. Ebeling's last line was beautifully ridden—in part in one hand. The passage was the biggest Rafalca offered, with lots of spring, and he rode a piaffe pirouette with a quarter turn in each direction in which the mare showed an impressive degree of sit. Ebeling—always a good freestyle rider—was thrilled with this test. 

Victoria Max-Theurer & Augustin: 69.725%

• Beginning her test with the trot tour, Max-Theurer showed a not very energetic extended trot. In passage, however, Augustin was very expressive and rhythmical. The piaffes were small and a bit heavy in front, but regular and in a good frame through the body. Both half-passes had lots of power and reach. At times, Max-Theurer had to supple her stallion rather strongly with the strength of her whole arm. In an otherwise nice extended walk, Augustin flipped his head twice rather dramatically. He then did so in each of the next three canter pirouettes, and it was amazing that Max-Theurer managed to keep them turning in a good canter rhythm with the stallion's head in the air and no contact with the bit. The tempi changes covered lots of ground, but Augustin does not reach up and forward enough in each stride. The fourth and final pirouette was still ridden with no contact to the mouth—and was therefore quite big—but showed no dramatic resistance. The final passage was uphill, through, and springing.

Severo Jesus Jurado Lopez & Numberto: 65.900%

• Numberto was slightly behind the leg from the moment of the sticky transition to canter out of the first halt, resulting in a rather lackluster pirouette left. Jurado Lopez then had problems with resistance to the bit in the tempi changes down the centerline. The pirouette right was more energetic, but big. The canter half-pass right had lots of uphill energy, while the one to the left fell into a disjointed canter rhythm. There were problems again in the second line of tempi changes, but then Jurado Lopez rode a line of twos that jumped impressively through into the bridle. Numberto's piaffe, though in a good frame through the body, became quick and tense. The passage was good and rhythmical. Jurado Lopez's half-passes had lots of crossing, but slightly diminished energy. Numberto, who was already rather behind the aids, began to look tired towards the end of the test, resulting in him collapsing into piaffe rather than making a clean transition. The many problems in the execution of the test took away from the quality of movement the horse is capable of. 

CHIO Aachen 2013 - Grand Prix Special

Helen Langehanenberg & Damon Hill: 80.667%

• Damon Hill's extended trots were all nicely uphill as well as showing  powerful strides. Langehanenberg's stallion not only showed amazing elevation in his passage but stayed well up in the bridle. The trot half-passes were good but could have reached slightly more sideways. Damon Hill was resistant to step into the first piaffe, which the came rather deep in the frame. The horse still collapsed slightly in the transition from passage to piaffe, but the transitions out had lots of power. Compared to Damon Hill's enormous collected canter the strides in the one-tempis were a bit short. After an uphill canter pirouette left, Langehanenberg had to use very strong aids to make the horse straight on the centerline again. By the end of the test, Damon Hill's dead-straight, super-powered passage became a little deep in the neck. Though the score was high because of the basic quality of the exercises, the harmony between horse and rider was not at its absolute best in this test. 

Anna Kasprzak & Donnperignon: 77.354%

• The determined Kasprzak rode Donnperignon's extensions with more power than ever today, so that the horse showed tremendous long strides across the arena. The passage was very elevated, though it could step under slightly more behind. The trot half-passes did not have the best crossing. The first piaffe crept forward and got quite tight in the neck but was significantly more active than we normally see from this horse. The second was smaller. The canter half passes had nice bend and angle with lots of jump. Donnperignon's tempi changes were powerful but became short in the neck. The extended canter was enormous. Kasprzak rode pirouettes that were, as usual, top-quality.

Isabell Werth & Don Johnson: 76.437%

• With the numerous transitions in the trot work of the Grand Prix Special—all seamless—Werth really showed the strength of her riding. The extended trots were big, though not sufficiently stepping under behind. All the passage was regular and powerful. Don Johnson reached extravagantly forward and sideways in the trot half-passes, but did not show sufficient bend to the left. The piaffe, as usual, was regular but lacked elevation. Don Johnson bobbed his head quite a bit in the canter half-passes. The two-tempi changes were quite straight and nicely uphill. The one-tempis lost some forward momentum. Don Johnson's extended canter became rushed more than it showed lengthening of the strides. In the good-sized canter pirouettes, the horse dropped his back and shoulders. The last extension showed not only incredible power but also over-track. Werth's final line of piaffe and passage was the most elevated she produced in the test. 

Natalie zu Sayn-Wittgenstein & Digby: 76.437%

• All the extensions in the Grand Prix Special were a struggle for Digby's rather limited extended trot, though he has nice engagement in the collected trot. The half-passes didn't have much suspension, but made up for that in elegant crossing. Digby steps well underneath himself in his good passage. The extended walk had lots of over-track though Digby could stretch his neck more. While the piaffe crept forward slightly, it was evenly active from front to back, as well as nicely uphill and closed at the base. All three lines of tempi changes were light-footed. The canter pirouette left was so small as to become slightly stuck; the right one was very good. Sayn-Wittgenstein finished her test with a sparkling—and absolutely correct—piaffe and passage. 

Annabel Balkenhol & Dablino: 75.708%

• Dablino had lots of power in his trot work and elevated passage, but some tightness in his back limited the half-passes and resulted in a couple breaks into canter. The extended walk had quite a poor rhythm. Dablino lurched out of collected walk into his active piaffe. The canter in the half-passes was beautifully uphill and clearly three-beat. The tempis were clean and powerful, but slightly heavy in front. Both canter pirouettes showed super uphill collection.

Victoria Max-Theurer & Augustin: 74.458%

• Max-Theurer rode her trot work like she had a metronome in her head, with no changes between the extensions, the collected trot, and the swinging half-passes. The passage had lots of engagement behind, but the engagement in the extended trots was not sufficient. The collected walk broke into a shuffling trot a couple of times. In piaffe Augustin lowered his croup but never became very active. Augustin's very good collected canter became a little short and stiff in the tempi changes. Both pirouettes were nicely uphill, though the one to the right was significantly smaller than the one to the left. While the final piaffe was still a bit heavy in front it was the most energetic. 

Andreas Helgstrand & Akeem Foldager: 73.958%

• The pair began with an extended trot that was very elastic but only minimally lengthened in the frame, and it seemed like Helgstrand never asked for full power in the extension.  Akeem Foldager's enormous passage is effortless and just slightly uneven in the effort from each diagonal pair. In walk, the horse was quite tense.  The piaffe was closed at the base and showed lots of activity but Akeem Foldager carried too much weight on his forehand. The tempi changes are the pairs weakest movements, as the horse swings its haunches quite dramatically, especially in the twos. There was a missed change in the ones. Helgstrand kept a good canter in the pirouette left but it needed to be smaller and show more collection onto the hindquarters. The pirouette right was weaker, after a mistake in the one-tempis down the centerline. The final centerline showed Akeem Foldager taking more even strides in passage and performing a piaffe that was more on his haunches, with effortless transitions between the two. 

Steffen Peters & Legolas: 73.375%

• Legolas's extended trots are developing more lengthened strides, but they at times became just a touch rushed and unbalanced in the test. He had a very springy passage, especially behind, becoming a bit croup-high rather than carrying his weight. The extended walk had a very nice rhythm, though it could have used slightly longer strides. Peter rode a clear transition from walk into a bouncy piaffe. Legolas was crossing well but lost some jump in the canter half-passes. The tempi changes were clearly still a struggle, with the horse jumping from side to side to execute them. Both lines of ones had mistake. The extended canter was lovely with big reaching strides. The small pirouettes still need to come more uphill. The last trot extension showed great lengthening of the stride with out any loss of balance. 

Danielle Heijkoop & Siro: 73.062%

• Siro's rhythmical trot work lacked some degree of elasticity and was quite short in the neck, especially too much so for the extensions. The passage was big and regular, though the horse lifts his left fore more than the right. The extended walk showed nice long relaxed strides. Siro cantered into the first piaffe, which itself was quite good: rhythmical, active, uphill, and in place. The transitions between piaffe and passage are easy for this pair. In the canter exercises, including both the tempi changes and the half-passes, Siro lost a noticeable degree of engagement behind, though they were otherwise correct. Heijkoop rode canter pirouettes that were active but quite big. The second showed some loss of balance. The piaffe-passage tour on the final centerline was rhythmical from D to G. 

Fabienne Lütkemeier & D'Agostino: 72.896%

• D'Agostino's trot work has lots of power and elasticity, with big extensions and flowing half-passes. Unfortunately, there were a few strides of canter before the half-pass right. In his springy passage, D'Agostino was limited in his forward propulsion and showed slightly less engagement in the right hind. The collected walk became very stuck and straight legged. The piaffe was rhythmical but open at the base and short in the frame. Lütkemeier did not ever quite establish a clear three beat rhythm in her horse's collected canter. The flying changes were nicely uphill. Throughout the test, the contact with the bit was soft and consistent. 

Lone Bang Larson & Fitou L: 72.333%

• Fitou is a horse who moves with suppleness through the back, though he is a tad bit flat-footed. The trot extensions and half-passes could use slightly more elevation, but the passage has plenty. The extended walk was both relaxed and focused. In the piaffe, Fitou was regular and carried his weight nicely on his haunches. He became slightly downhill in the canter half passes. There was a mistake in the twos as the horse became behind the leg. In the one-tempi changes, the canter became small and dull. The canter pirouettes were uphill but slightly heavy. Bang Larsen had some difficulty establishing the final piaffe but the transition out was lovely, stepping into a powerful and relaxed passage. 

Tina Konyot & Calecto V: 71.125%

• This pair's first extension lacked power and was very irregular. In fact, much of the collected trot work and passage suffered from irregularity. Unfortunately, with all Calecto's extravagant movement, he rarely carried himself behind in trot or piaffe and passage. This was especially the case in his amazingly elevated passage which tended to come quite croup high. Calecto maintained a nice frame in the neck and Konyot's contact with the bit was very nice. In piaffe, though Calecto drops his croup and closes at the base, he still does not really take his weight behind. The canter half passes and tempi changes were solid, with an expressive and balanced canter throughout. The canter pirouettes were uphill, though Calecto tends to jump together a bit behind. The last extended trot still showed lots of irregularity, as did, to a lesser degree, the powerful final centerline.

Severo Jesus Jurado Lopez & Numberto: 70.688%

• Numberto is an uphill moving horse that just needs to become more secure in the Grand Prix. The extended trots had plenty of power but needed to develop a little more reach. Numberto became a bit hurried in the trot half passes, but they had good bend and plenty of crossing. The piaffe and passage showed lots of potential and were consistently uphill but were clearly in development: the horse did not have quite enough carrying power behind. The tempi changes were very impressive: uphill, ground-covering and jumping off the ground. The canter pirouettes also showed potential for amazing sit, for which the horse has yet to develop the strength. Jurado-Lopez and Numberto looked like an exciting and harmonious combination. 

Jan Ebeling & Rafalca: 70.417%

• Unfortunately for a test with lots of extended trot, Rafalca does not really show much power or over-track in her extensions. The half-pass right flowed sideways. In the passage tours, Rafalca had trouble producing enough suspension. The extended walk was slightly tense. The first piaffe had decent sit and activity and was quite regular. The transitions from piaffe to passage were clean even if slightly laboured. The canter half-pass left travelled sideways nicely, maintaining a quality collected canter. The obedient twos lost some energy towards the end. The one tempi changes did not jump much off the ground but traveled well across the diagonal. The canter pirouettes were okay, their weakness mostly being that they are not sufficiently uphill. The final extended trot down the longside was their best, finally showing over-track and good power from behind. The passage on the final centerline was still rather flat, but the piaffe was very good. Ebeling finished his test with his characteristic warm smile. 

Shelly Francis & Doktor: 69.042%

• Francis started her test off on a nice note with a good square halt, but throughout the test, tension, especially in the horse's back, caused a number of small issues. The half-pass left became rather tight in the body, limiting the horses ability to show crossing. Doktor had a big spook at C before starting his first passage. The passage itself had lots of elevation. Francis's half-pass right showed much more suppleness. The extended trots varied in quality but overall needed to show more over-track. The rhythm of the extended walk was very good. Doktor took a few anxious canter steps before beginning his first piaffe, and the piaffe itself showed tension. Nevertheless, Doktor has a lot of sit and power in piaffe. There were also problems before the second piaffe which never established the horses usual degree of sit and elevation. In the canter half-passes, Doktor became short-strided and tense. The twos were very nice, but a tight canter meant that a couple one-tempis were missed. The pirouettes were small and uphill but Docktor really looked like he wanted to spin rapidly around, rather then taking nice distinct steps. The final centerline showed a big passage and rhythmical piaffe.

Jeanna Högberg & Liza Minelli: 68.396%

• In the trot extensions, Liza Minelli takes nice big strides and shows a lot of power but is slightly tight in her frame. Högberg ended up with canter at the beginning of her half past left. The rhythm of the passage, which is quite elevated, is too quick. Both half-passes showed lots of crossing and nice bend, though the trot becomes slightly hurried. The piaffes are rather small and do not close at the base or take weight on the hindquarters, but they do keep a consistent rhythm. The canter half passes flowed sideways nicely, also with lots of crossing. The mare became slightly wide behind in the tempi changes and did not step under sufficiently. Minelli lost the canter in the pirouettes. They finished on a nice clean piaffe-passage tour and square halt.