LA Mid-Winter Dressage CDI 2014 - Grand Prix Special

It's a shame that Kathleen Raine and Breanna did not make this show, though I am sure they will be out to a California CDI again soon to make it to the WEG qualifier at Gladstone. Wylea looks improved since last summer, but Legolas—even with Steffen Peters's very sympathetic and precise riding—seems to have reached his limits. For those early in the class, the new piaffe coefficient must have been trouble, since that was a significant weakness in a number of rides.


Steffen Peters & Legolas 92: 75.255%

• Peters started on a not quite square halt and unbalanced first corner, but the extended trot was decently energetic. The passage rhythm was superb, with few moments where the hind leg hitched up (which has been an issue in past tests). The horse broke into canter a for a strident the beginning of the third extended trot. The extended walk was relaxed but should have stepped more energetically into the bit. The transition from walk to piaffe was perfect and the piaffe was absolutely in place with even elevation in front and behind. The second piaffe got a bit flat in front and overactive behind in a few steps but was still very good. The rhythm of Legolas's canter is not the best, with the leading front leg coming down very quickly. Still, the canter half-passes jump sideways very nicely. There were no problems in the tempis but they should have shown more jump. The extended canter was quite good with Legolas finally showing a clear canter rhythm. The pirouette were tiny but bit heavy and flat-footed in front. The final centerline is really the highlight of any test for this combination and that showed today. 

Guenter Seidel & Coral Reef Wylea: 72.784%

• This mare had lots of shoulder freedom in the extended trot and opened her strides nicely but it would have been nice to see her come up a little more in front and show a bit more power from behind. Wylea is very active with her knees in the passage and has decent but not outstanding elevation. The extended walk showed big clear relaxed strides. The piaffe was plenty active but a touch too forward. The transitions between piaffe and passage were impeccable. The tempis were nicely ground-covering. The extended canter showed nice long strides but could have been more uphill. One of the one tempis down the centerline was close behind. Seidel rode pirouettes that were tiny and in an excellent canter rhythm, but a bit low in front. The fantastic final piaffe showed super elevation of the limbs and a very clear rhythm. 

Beatrice Marienau & Stefano 8: 67.275%

• The trot half passes were quite nice with good—almost too passage-like—suspension. The passage had very good spring and a lovely frame though there was the odd step where the horse couldn't quite maintain it. The extended trots were quite short behind. The extended walk got a bit deep in the neck. The transition from walk to piaffe was quite clean, though the piaffe drifted forward and sideways a bit. The second piaffe was better collected but also a little tense. Stefano jumped together behind in the transition from passage to canter. In the canter half-passes the horse slightly lost the clarity of his canter rhythm. The tempis were obedient. The canter pirouettes needed more sit. Marienau rode a very obedient and pleasant test.

Michelle Reilly & Umeeko: 64.373%

• This pair had very nice entrance with a square and prompt halt. Umeeko had good shoulder freedom and nice open strides in his extended trot. The passage was a little small but totally regular. The trot half passes needed a little more strength pushing sideways. The contact with the bit was lovely and soft. The transition to walk from massage got a touch stock but the extended walk showed lovely relaxation and a good open frame into the bit.  There were couple resistant canter strides in the first piaffe. The second piaffe was very small and crept forward bit but was rhythmical. The transition from passage to canter was late and unbalanced. The one tempis were dead straight and energetic. He first canter pirouette needed more energy while the second rotated a bit too quickly, but both were quite well-controlled by Reilly. The final centerline was not extraordinarily dynamic but was very correct, including the transitions. A nice combination.

Kimberly McGrath & Winslow: 64.333%

• Winslow had a quite dull collected trot but came nicely uphill in his extended trot. The horse showed significantly more engagement with the right hind than the left in his passage, but overall the movement had decent rhythm and suspension. The second trot half-pass got quite stuck and needed more energy forward and sideways. The transition to piaffe was excellent: clear and prompt. The piaffe was clearly regular and nicely lowered in the croup and the transitions in and out were balanced. There were quite a few mistakes in the two tempis, seemingly because the horse got a bit behind the leg. There was also a mistake in the ones. The first pirouette was small but a bit stuck and off the contact, the second nicely active and uphill. The final extended trot had lots of power from behind and the final centerline was very well ridden. 

Lientje Schuller & Mike Tyson: 63.824%

• Mike Tyson showed nice engagement behind in his extended trot. The first trot half-pass started at a wobbly angle but it ended with strong fluid strides. The passage needed a little more consistent collected suspension, at times becoming a bit too trot-like. The extended walk needed a little more stretch in the neck. Schuller's piaffe was quite nice out of the walk with very good activity even though it took a minute to develop. The transition up into passage was not quite clean but the piaffe itself was really earning points for that double coefficient. The canter half passes lost some of their forward energy. There was plenty of jump in the two tempis, but some of it was more behind than in front, so the horse became a little croup-high. The first canter pirouette lost some of the energy and rhythm of canter, the second was better in this respect, but needed to be a bit more on the hind legs. Mike Tyson almost got stuck (from too much sitting) in the final passage but Schuller rode through it well.

Coutenay Fraser & Birkegardens Lukas: 61.059%

• This pretty gelding got a little deep and tight in the first extended trot. The half-passes flowed over nicely. That passage seemed to be developing towards good elevation and was pretty consistently a bit irregular in its engagement. In the extended walk the horse was swinging through his back with his nose nicely in front of the vertical. The first piaffe out of the walk didn't really happen. The second was slightly better but there was little jump between diagonal pairs. The change after the second canter half-pass was late behind. There were a couple mistakes in the two tempis. The ones were clean and straight. The horse changed behind at the end of the extended canter. The first pirouette was small but lost balance and turned a little too quickly while the second was a little bigger but kept a better canter rhythm. Unfortunately the now double coefficient on the piaffe limited the score of this test a great deal. 

April Atwell & Pavarottie: 60.804%

• In the collected trot work, Pavarottie is a little flat and deed in the neck for a Grand Prix. The half passes were rather quiet but had nice supple bend and good crossing. In the turn through the corners, Pavarottie lost some engagement in his passage, which overall could use a bit more elevation. Neither piaffe crossing the centerline found a settled rhythm unfortunately. There was a mistake in each line of tempis. The pirouettes were small and decently uphill. The final piaffe was quite nice in the rhythm and well in place. A steady test but needs a little more fire. 

Lindsey Stroh & Lancelot: 55.902%

• This was a strong horse who seemed a bit dead today. Lancelot started a little sticky out of the halt. The trot work had nice energy but this sometimes came at the expense of some unsteadiness in the bridle and irregularity in the gaits. The collected walk was very tense. Out of the walk Lancelot dropped the bit and did not really offer a first piaffe. The second one was much much better with a decent rhythm and in place. The two tempis were relaxed and nicely uphill and the ones were clean. The horse trotted into the first pirouette, so the pair showed only a half-pirouette. There was a mistake in the the nine ones. The pirouette right stayed decently uphill but needed more jump behind. The final piaffe was quite good, but the passage was losing energy. 

Rebecca Rigdon & Solei: 54.039%

• This mare is a dynamic mover but got a little tense in the back in the extended trots, making them a bit rushed. The passage had very good power and elevation. The passage before the walk lost some of its collection. In extended walk, Solei got a bit deep in the neck. The piaffe was going decently but then the mare showed a large resistance including rearing and going backwards. The second piaffe came off cleanly. The beautiful two tempis were almost immediately interrupted by another enormous resistance. There was a mistake in the one tempis and they seemed a bit tense in the strides. Rigdon was quite cautious in the pirouettes to avoid another resistance so the first was big and the second broke into a trot. There was a third resistance on the final centerline. This is quite a nice mare but clearly just very very sensitive. Rigdon handled it well. 

CDI Drachten 2014 - Grand Prix Special

The ICNN Drachten website now has scores posted for these rides, but they are several percentage points off from the preliminary scores and Ona Dewaegenaere has disappeared entirely from the list. I will update the percentages and rankings when I can.

Hans Peter Minderhoud & Romanov: 71.529%

• The first extended trot showed lots of reach in front, but not nearly enough engagement behind. The passage was a bit irregular, with Romanov not really stepping actively behind with any consistency. The trot half-passes were excellent. The extended walk had nice overtrick, but Minderhoud could not really let the horse out in the neck, as he was very much acting like a distracted stallion. The piaffes were absolutely rhythmical. Romanov got quite low in the neck and over bent in the canter half-pass right. There were a few steps of cross-canter at the end of the one-tempis. The stallion is very supple in the neck and body, and today he used this suppleness to create evasions. 

Anne van Olst & Zidhane: 68.902%

• Zidhane is quite a heavy horse, and though he seemed hot enough, there were moments where he gave the impression that there was just a lot of him to carry through a Gran Prix. The trot half-passes were quite restricted with little lateral power. The extended trots showed quite nice lengthening of the strides, with activity that was evenly matched in front and behind. The piaffe had excellent suspension, a little reminiscent of another chunky grey: Guenter Seidel's Aragon. The tempi changes lost some of their forward momentum towards the end, and Zidhane failed to change behind in one of the tempis down the centerline. The pirouettes had a poor canter rhythm, but were tiny. 

Diederik van Silfhout & Arlando: 68.372%

• The pair began on a quite unbalanced halt. In the first trot extension, van Silfhout had to give a major half-halt to rebalance the stallion. The trot half-passes had super shoulder-freedom and suspension, but limited crossing. In extended walk, the stallion was tense and distracted. The first piaffe crept forwards a fair amount, but Arlando was springing off the ground with his hind legs coming well underneath him. The other piaffe maintained this level of activity while also staying more in-place. The transition from passage to canter was effortless. The tempi  changes were a bit hectic and short in the stride. Overall, the horse still needed to shorten and come up more in the frame, but at a very young eight years old, the horse still has plenty of time to develop.

Juliette Ramel & Ten Points: 66.607%

• Ramel opened on an extension with nice supple lengthening of the strides, but with the horse a bit short in the neck, giving the impression that there was more in the tank. The half-pass right powered sideways nicely with lots of crossing. The horse tripped behind in the extended walk as Ramel asked for bigger strides. There were some miscommunications in the piaffe out of the walk, but the second was better. The transition out of piaffe, however, was quite weak. The canter half-passes showed lots of lateral strength. Ten Points had super two tempis that were energetic and uphill without getting hectic. There was a small bobble in the ones on the diagonal. The canter pirouettes were small, but lost some energy. The final centerline showed their most uphill and springy passage, a piaffe that was active, though perhaps a bit over-closed at the base, and improved transitions. 

Ona Dewaegenaere & Dabanos: ? %

• The rhythmical half-passes had excellent swing in their crossing. In passage, the horse steps way up and under behind, without any loss of freedom in front. The piaffe was regular and active, but the horse steps forward on the right front and back on the left front. The one tempi changes were straight  with decent jump, but Dewaegenaere asked for them with very big aids. The horse cantered nicely in the pirouettes, but could have taken more weight behind.

Claudia Fassaert & Donnerfee: 66.392%

• Donnerfee is a mare with excellent engagement behind and a lovely light-footedness. The trot lost some suspension in the half-passes, though the one to the right was better. Donnerfee was nicely relaxed in the back for the extended walk, though she became a bit low in her frame. The piaffes were rather lackluster, and while the passage was airy, it could have been a bit more controlled in its steps. The tempi changes showed good impulsion, though the mare became slightly restricted in her shoulder. The pirouettes were huge and a touch above the bit. Though Fassaert's riding was soft, she seemed to lose the connection with her mare (both literally in the bit, and figuratively) towards the end. 

Jana Kun & Watson: 65.725%

• The trot half-pass left showed nice energy and crossing, but the one to the left got a touch flat. The passage tended to get a bit laboured and the piaffe not quite diagonal in its steps. The two tempis had lots of jump, both upwards and forwards. The ones lost some energy as the horse swung his haunches from side to side. Overall, the horse was a bit heavy in front, causing him to trip a few times.

Ilka Boening & Sommerliebe: 65.176%

• Boening's trot tour was quite obedient and each movement nice, but Sommerliebe did not show the consistent rhythm across the movements that is ideal. Boening lost the canter before her two tempis, which needed a little more sparkle. The canter pirouettes lost energy and turned a bit around the middle of the horse. The final extended trot was more fluid and less mechanical than the earlier ones, with good long strides. The final halt appeared a bit like a horse slamming on the brakes before a cliff.

Wilma Wernsen & Oklarette: 64.941%

• Oklarette looked like she was still developing power behind, especially in the trot tour. The passage was active, but the mare could not quite use her hind end to spring really uphill in her strides. There appeared to be nice potential for a piaffe with super sit and activity, but it was a touch irregular in this test. Wernsen had a big miscommunication at the beginning of the diagonal of one-tempis. The first pirouette had decent sit, but the second got a bit hectic and unbalanced. The final line of piaffe and passage was their best. 

FEI World Cup Stockholm 2013 - Grand Prix Freestyle

Tinne Vilhelmson-Silfvén & Don Auriello: 81.950%

• After a perfectly precise centerline, Don Auriello tripped slightly at the beginning of his extended trot. The trot-half-passes had nice power and sideways reach. Don Auriello stepped under behind in passage better than before, though the steps were still quite slow. The single pirouettes on the centerline were tiny and balanced; the double pirouettes after the half-passes were also small, but could have shown slightly more elevation in  front. The horse also tripped at the beginning of his half-pass left. The second line of one-tempis showed a little more energy than the first and were quite lovely. In the final piaffe, the horse was sitting to such a high degree that he stepped a bit backwards (though never lost his rhythm) and he tripped (again) quite dramatically in the final extended trot. The frame in the test was as impeccable as ever.

Edward Gal & Voice: 79.275%

• Gal's music for Voice is in his usual dramatic style. The test began with a passage with plenty of elevation and a slightly quiet piaffe that tends to snatch up a bit out behind. The stallion also tended to leave his left hind leg behind a bit in transitions in and out of passage. The trot-half-passes had extravagant and supple crossing: they just flowed sideways. Voice kicked out in the transition down to collected walk. In extended canter, the horse could soften in the back and reach more forward in front. The tempis were clean and ground-covering (unlike Totilas and Undercover, who have the expression, but not the forward propulsion). The canter pirouettes were a touch big, but superbly uphill. The horse quit for a stride in the transition down from canter, but the final centerline of passage was impressive. The test could use some polish, but the horse is presently in a soft open frame with lots of expression.

Hans Peter Minderhoud & Romanov: 78.850%

• The passage into the first halt lacked a little sparkle, but the horse stepped off into a well-engageed and light-in-front extended trot. Romanov showed nice swing in the half-passes, but the angle was not very difficult. The piaffe consistently stepped evenly back and forth from diagonal pairs and was totally in place with good activity. The horse showed some resistance to the bridle in the transition from collected walk to extended walk. Romanov was a little short in the neck throughout the test. The canter half-passes with changes of direction had a high degree of difficulty and were beautifully smooth. There was one almost-late change in the twos, which were otherwise supple and ground-covering. The canter pirouettes could have been better placed around a single point. A couple of the ones jumped together behind. The piaffe quarter-pirouette onto the final centerline was magnificent in its rhythm and expression and appeared effortless. 

Nanna Skodborg-Merrald & Millibar: 76.425%

• Their test began with a very large double pirouette to springy one-tempis to a large double pirouette in the other direction.  The trot-halfpasses has good crossing and pushed well sideways. The trot half-passes were ground-covering and had plenty of suspension. The piaffes traveled a meter or so forward each time. The tempos were big and jumped light-footedly off the ground. Sadly, Millibar had a bit trip in his final extended trot. Skodborg-Merrald's power riding carried the pair through the test; in a way, it is reminiscent of Minna Telde's style with Santana: full risk in a way that brings out the most in the horse, though it sometimes becomes a shade hectic.

I saw some of Jessica von Bredow-Werndl and Unee's test, but was not watching with my full focus. The horse always looked quite open in the neck and soft in the bridle, though at some times he got a bit low in the frame. The trot-half-passes had lovely flow, but the horse tilted his head in the half-pass right. The soundtrack music was familiar, but well-chosen, so never dull. 

Lone Bang Larsen & Fitou L: 74.175%

• Bang Larsen did not have her most harmonious test today, with a number of small communication errors taking away from the strong quality of the movements. Their active and springy entrance passage sometimes showed slightly more engagement in the left hind. In extended trot the horse really steps under behind, though is a bit heavy on the ground. The piaffe had good sit and suspension. Fitou became a bit crooked in collected walk and was a bit stuck in the transition to collected canter. The horse showed some resistance into the first line one-tempi changes. The extended canters were a bit rushed. Bang Larsen then rode a nicely uphill second line of one tempis. Their transition from extended trot to piaffe did not quite go off smoothly. She finished to the beat of Robin Thicke's Blurred lines, but it didn't quite fit musically with the rest of the freestyle. The catchy music has a great sound for a kur, but I think the lyrics are pretty inappropriate for a freestyle and should be excised.

Stuttgart German Masters 2013 - Grand Prix Special

Isabell Werth & Don Johnson: 77.333%

• Werth established super positioning and crossing in the trot half-passes, but the first became just a little hurried in the rhythm, while the second had more cadence. Don Johnson spooked after the second half-pass. The third extended trot showed Don Johnson not only reaching up and forward in front, but staying soft enough in the back to step more underneath himself. The transition from walk to piaffe was clean and relaxed, though the piaffe was a little small. The two-tempis were super; the ones needed to travel a bit more forward on both lines. The final passage had lots of power, and the piaffe at X was absolutely regular (not always Don Johnson's forte!).

Ulla Salzgeber & Hezruf's Erbe: 76.854%

• Hezruf's Erbe has a very nice extended trot with elastic lengthened strides that are well-matched behind and in front, and plenty of power. The half-passes were solid. The chestnut has an airy passage with very good elevation in front. The extended walk had good overtrack but could have shown a bit more energy. There was a bobble in Salzgeber's first piaffe, but the horse really sits while staying decently active. The two-tempi changes were uphill and jumped up well from behind, but the horse jumped noticeably from side to side. The one-tempis were quite short. The balance in the canter pirouettes was super, and they were nicely uphill (just one  stride that jumped together behind in the first one). Good last line.

Marcela Krinke-Susmelj & Molberg: 74.688%

• Molberg can really cross in his trot half-passes, and Krinke-Susmelj sets him up beautifully. The extended trots were correct in the body, but rather lacking in ground-cover and cadence. The horse looked nicely compact in the body for much of the test today, though he sometimes became a bit flat in the back during his active passage tours. While extended walk was relaxed, Molberg should have stepped more actively into a contact in it. The canter half-passes and flying changes were super correct, though they could have shown a a shade more drive from behind. Beautifully precise and effective riding from Krinke-Susmelj.

Victoria Max-Theurer & Augustin: 72.167%

• Their first extended trot was a bit restricted, as Augustin was looking quite fixedly at the scary arena. All the extended trots became a bit croup high, with Augustin needing to reach a bit more under behind instead.  A few of the passage lines had steps that were a bit lackluster or a bit irregular, but they mostly showed Augustin's characteristic activity and suspension. The piaffe had good sit and rhythm, but the first did not have enough steps. Augustin's haunches were swinging quite a bit in the ground-covering two-tempis; the ones were a bit hurried. The stallion pulled above the bridle in the extended canter. The first pirouette was small, but lacked bend. In the second, the horse again pulled above the bit. The final passage had major spring and activity, and Max-Theurer rode a beautifully classical last piaffe.

Nadine Capellmann & Girasol: 71.458%

• Unsurprisingly, given the reactions of other horses, Girasol spooked quite dramatically at the arena, starting at the end of the first extended trot. The tension led to some moments of irregularity in the mare's incredible passage. The trot half-passes were super. The first piaffe had an unclear number of steps, and though Girasol lifted her limbs plenty, she did not jump clearly between diagonal pairs. The tempi changes became quite short in the stride and tight in the back, marring the picture created by Girasol's naturally beautiful canter rhythm. The enormous final passage was very uneven in its activity.

Christoph Koschel & Rostropowitsch: 70.354%

• Super active passage work. Koschel's first half-pass swung nicely sideways, but second half-pass was quite passage-y and lost its crossing. The piaffe was in place, but rather tense and arhythmical. Rostropowitsch lost quite a bit of energy in his two-tempos, swinging a bit in the body and getting a bit low in front. The ones were better, especially in their straightness. The final extended trot had top class reach in front and lots of forward power. Their ending centerline was expressive. 

Anabel Balkenhol & Diamonds Forever: 69.500%

• Balkenhol rode nice first trot half-pass, establishing a good balance between cadence and crossing. Diamonds Forever could carry herself a little more behind in the passage. The mare hurried out of walk into piaffe, and it was going quite well, but Balkenhol seemed to ask for just a bit more than the horse could offer in the moment, resulting in a few levades. The two tempis were flowing and ground-covering; the ones were as well, but the first few were close behind. In their super extended canter, Diamonds Forever unfortunately changed early behind. The final piaffe had good lift of the horse's limbs and good sit, and seemed like it will be very regular with a bit more time. 

Uta Gräf & Dandelion: 66.625%

• Dandelion was quite tense and spooky today, creating a number of small issues in the test. The trot half-passes were quite fluid with good crossing. In the first passage tour, the horse was climbing in the frame and became a bit out behind. Dandelion was much more underneath himself in the passage after the walk, but sometimes lost rhythm. The canter half-passes seemed restricted and the horse spooked and changed leads several times behind on the short side afterwards. Gräf had quite nice uphill one-tempis with plenty of spring, though the horse's energy could have carried it more forward. The final passage didn't quite find a steady elevation, but the final piaffe had very good sit and activity.  

Susan Dutta & Currency DC: 66.104%

• Currency DC unfortunately looked quite inelastic today. He is a horse who shows a lot of variability, but today was not one of his best days. The extended trots did not show quite enough lengthening of the strides and were a bit hurried. The passage was always regular, active, and uphill. Currency stays quite active in piaffe, but to do so, he travels forward significantly. The two tempi changes jumped off the ground, but did not show enough suppleness in the back or shoulder freedom to score highly. There were mistakes in the one tempis. Dutta rode final centerline with and expressive and regular passage and an active (and more in-place) piaffe.

Patrick van der Meer & Zippo: 63.417%

• Like Dandelion, Zippo sometimes found the plants around the arena quite frightening, sometimes interfering not just with the overall submission score, but with movements like the passage tour. Overall, the passage was elevated and relaxed, though at times slightly irregular. The extended trots could have showed a bit more power and reach. The piaffe out of the walk was sitting and regular, but van der Meer could never quite get the second one into a rhythm. Zippo swings his haunches just slightly in the tempi changes, The first pirouette was nicely up in front, though a touch unbalanced; the second was steadier, but more earthbound. Unfortunately there were problems again in the final piaffe. 

U.S. Dressage Festival of Champions 2013 - Grand Prix Freestyle

Well, to no one's surprise, Steffen Peters and Legolas were this year's Grand Prix Champions. After a Special that was not their strongest, they pulled off an excellent freestyle with plenty of harmony and expression. The second and third place riders, Guenter Seidel and Kathleen Raine, showed huge improvement on their powerful horses. Also: way to go California dressage for claiming the top three places!


Steffen Peters & Legolas: 79.450%

• Peters's entrance passage and piaffe were nicely controlled and steady, and of course showed Legolas's amazing springiness. Transitioning to canter, the two tempis were straight and looked quite relaxed and ground-covering. The first pirouette was small, but could have taken more weight behind. There was a hitch at the beginning of the ones but the changes themselves were clean, if short in the stride. Peters's classic transition from canter pirouette to piaffe to extended walk was absolutely seamless, showing a horse that was relaxed and absolutely on the aids. The trot work showed nice long strides but could have had a bit more elasticity. The final piaffe pirouettes were excellent for Legolas because they forced him to put some of his energy onto his hind legs in the piaffe, lifting his whole frame. 

Guenter Seidel & Wylea: 76.450%

• The piaffe and passage that Seidel showed at the beginning of his test was rhythmic as a metronome. Throughout the test, the piaffe traveled forward quite a bit, but by doing so, Wylea was able to maintain energy and a clear rhythm. Wylea had super shoulder freedom and lengthening of strides in her extended trot, as well as a nice open frame.  The trot half passes had very good crossing, but looked a little stuck. The beat and cadence of the canter pirouettes was super, with little change from Wylea's collected canter. The one-tempis were nicely uphill. Seidel had a minor counting error in the twos. The final centerline of piaffe and passage was absolutely regular and beautifully expressive. Overall, the mare looked more relaxed in her mouth and eye today. Axel Steiner remarked that it was the best he had seen the horse go, and I whole-heartedly agree.

Shelly Francis & Doktor: 72.225%

• Francis started off with a superb piaffe that had very good sit and rhythm, as well as a nice degree of suspension. She then began her canter work with some one-tempis, but missed a few changes. Doktor got bit tense in the first pirouette, though it was still small and uphill. He took plenty of strides as he turned, but his steps were a little hurried. The extended walk had nice over-track and showed Doktor at his most relaxed. In his trot half-passes, the gelding steped very well up and sideways. The passage was very energetic but could come just bit more under behind. The last line of piaffe and passage was the most engaged, making for a good finish.

Cesar Parra & Van the Man: 70.725%

• After running home from a late meeting, I arrived in time to catch the second half of Parra's ride (he was first in the order of go). Van the Man struggled to keep a clear canter in his pirouette left, getting close and then changing behind, as well as propping up in front. The pirouette right was quite uphill and decently small. The one tempis were ridden on circle but lost a great deal of quality. The final piaffe had clear diagonal steps but the rhythm became rather slow, while the passage had a good deal of power.

Kathleen Raine & Breanna: 70.225%

• Raine began on one tempi changes that were of good quality and to the music, but unfortunately not all of them went through. Her two tempi changes were superb, with nice big uphill strides that were relaxed in the body. In her canter pirouettes, Breanna wanted to swing her haunches out. The extended canter could have shown longer strides. The well-engaged passage hit the beat of Raine's music exactly. The piaffe showed no change of rhythm from the passage, though it could have come under more behind. There were a few bobbles in the passage when an eager Breanna got over engaged behind. The rhythm of the Michael Jackson music for the trot was usually just a hair too slow for Breanna's steps. The trot work traveled powerfully from behind, though there were some moments of hesitancy's or resistance in the transitions between movements. The trot half-pass left showed incredible crossing. 

James Koford & Rhett: 69.675%

• Koford entered and struck off into his canter half-passes immediately after his halt. After a single pirouette with quite nice sit, Koford transitioned down to trot. In his extensions, Rhett was a little downhill. The horse tripped at the beginning of the first passage, but the rest was a real highlight with super suspension and elevation of the horses limbs. The one tempi changes were enormous, springing way off the ground, though the horse became touch croup high.  Rhett showed a superb rhythm in the walk work. At the end of his test, Koford rode a double canter pirouette to piaffe, resulting in the best piaffe of the test.  Koford rode lots of transitions between trot and canter work with out there being harsh changes in the music, which made for an interesting program (interesting in a mostly good way!).

Brian Hafner & Lombardo: 67.200%

• Lombardo showed some tension in a half-rear before entering the arena, and it appeared again in the first piaffe. The passage had good suspension. Hafner's half-passes had very nice crossing and lateral reach. The extended trots were ground covering with open strides and good over-track. The second piaffe showed no resistance, though it wasn't very active. The collected walk was very tense and the extended walk lacked over-track.  The horse reared again in the transition out of walk. The tempi changes were uphill and correct though not terribly dynamic. The collection in the canter pirouettes was very good with the horse keeping nicely active and uphill.  The resistances were quite a shame as the picture in the movements was really very good. 

Sharon McCusker & Wrigley: 63.050%

• Beginning with his piaffe and passage, McCusker's horse was expressive in the movements but lost all a lot of energy in his transition out of piaffe. This issue appeared not just on the first line, but throughout the test. The first canter pirouette got stuck and unbalanced. It was followed by uphill, lively one tempis. The twos were peppered with lots of ones. The extended walk had nice over track but the collected walk had a break and some tension. Wrigley's trot half-passes needed more crossing. The horse's quality in each movement is very good but there were two significant to the test: the music was not really expressive enough for a freestyle, and McCusker's aides were often more visible than one would ideally want. 

  

U.S. Dressage Festival of Champions 2013 - Grand Prix Special

For some reason, the evening Grand Prix Special seemed to be sprinkled with unsteadiness, with some of the strongest combinations uncharacteristically showing either mistakes or an air of cautiousness. I thought the most confident ride of the evening came from Shelly Francis on the compact Doktor. Kathleen Raine and Breanna even looked like they might have had the potential to win until the mare's enormous spook. In the end Peters won the class through his ability to judge when to be tactful and when to push, getting the most out of Legolas on a seemingly not-so-good day for the gelding (although Peters is quoted in the USEF press release as being quite happy with how the horse went).


Steffen Peters & Legolas: 74.771%

• Legolas took really nice long strides in his extended trots though he didn't have the power that some of the other horses did. The first passage showed lots of bounce behind, but the bounce led the passage to become croup-high, rather than producing lift and shoulder freedom. The half-passes had supple crossing. The transition from collected walk to piaffe was completely clean and relaxed, and the piaffe was in place with good diagonal rhythm and spring. The passage in and out of piaffe was the best that the combination showed. Peters went off course in the same way Dujardin and Cornelissen did at the European Championships. It was to his benefit, however, since the two tempi changes were much better in the second line, with much more ground-cover.  The ones were very stuck and the horse jumped particularly close behind in the change to the right. They were generously scored. Both pirouettes showed balanced turning and a clean canter, but needed to come up quite a bit more in front. Legolas was quite off the contact today, and not quite secure in the movements.

Guenter Seidel & Wylea: 71.917%

• Despite Seidel's very soft hands, Wylea looked quite busy in her mouth throughout in her test. Like Peters, Seidel could not really push his horse into the bit, and in Wylea's case, this led her to become a bit low in the frame at times. The trot half passes had nice bend and positioning but needed a bit more power sideways. The extended trots had powerfully reaching strides and lots of shoulder freedom, but didn't all quite settle into a rhythm. The passage was consistently springy and even. Wylea's extended walk was very nicely relaxed in the back. The first two piaffes were active, but pulled down slightly and crept forward. The transitions in and out of piaffe were all clean. The flying change at the end of that canter half-passes was quite short. Wylea stepped up and under very well in her two tempi changes—a highlight in the test—but the strides got a bit short behind in the fifteen ones. The nine one tempos between the pirouettes matched the quality of the twos, and Seidel rode the pirouette right uphill and in excellent balance. The last piaffe traveled forward a bit but was absolutely regular, with nice elevation. 

Kathleen Raine & Breanna: 70.771%

• Raine's half-passes showed nice power sideways though Breanna made the crossing look a bit difficult. The transition to the first passage was a bit unsteady, but the passage itself had lots of spring and the mare stepped under well. Breanna's walk showed nice big strides but her natural rhythm is not the clearest. Raine transitioned to piaffe very early. The piaffes had nice clear diagonal steps and good activity, but Brianna could have sat better and was bobbing her head slightly. Brianna gave a major spook early in the canter work, with some leaping and little rears. The canter at half-passes were very well balanced with good bend. The one tempi changes were uphill with lots of jump. Both pirouettes lost at degree of self carriage in the last stride. The final line was powerful and clean. 

Shelly Francis & Doktor: 69.979%

• Francis and Doktor make a great combination, and she rides a lot out of him in a very pleasant way. In the trot work, Doktor was rather restricted in his back and did not quite show the suppleness to really push forward in the extended trot or to reach sideways in the half passes. The passage had excellent rhythm and elevation. The transition from collected walk to piaffe was a little unsteady and the piaffe never quite settled. Doktor's natural frame in the piaffe is very good, with sitting and elevation, but tension prevents him from finding a steady rhythm. The canter half-passes were nicely uphill. Francis's one tempis were straight and springy though they could have covered more ground. The pirouettes were small and uphill but Doktor tended to jump together a little behind. The last extended trot showed nice power. The pair's final line showed their nice passage, but was slightly lacking in energy. 

Cesar Parra & Van the Man: 67.979%

• Today, Parra was having some trouble with Van the Man's steadiness, with the horse often coming behind the bit. The first extended trot showed nice elevation, and both carrying and pushing powerfully from behind.  The half-pass left was unsteady in the bridle and not totally willing sideways. Van the Man frequently got a bit short in the neck in passage, losing forward impulsion, though the elevation is good. The extended walk was not straight, so the horse lost some of his forward energy into the bit. The piaffes had nice lift in the forelegs and diagonal activity. The horse's haunches lagged significantly in the canter half passes. While the horse could step under more behind in the tempi changes, they are nicely uphill and cover ground well. Van the Man changed behind in the pirouette right. 

James Koford & Rhett: 66.667%

• I discovered last night that Rhett has the same sire as one of the horses I am riding at the moment, but the only things they have in common are that they are both bay and have a tendency to get croup-high in the canter—their ways of going are totally different! In the trot, Rhett struggled to bring his hind legs really underneath himself to carry his movement. In extended trot, he powers himself forward, but needs to show more lift in front. The half-past right had better swing sideways than the one to the left. The passage had nice supple suspension. The extended walk had lovely relaxation and over-track. The piaffes were a bit hesitant and crept forward quite a bit.  Rhett's huge two-tempi changes had lots of unfortunate mistakes. The ones were also enormous but could have come up quite a bit in front. The final line had lots of energy and smooth transitions in and out of piaffe.

Sharon Mccusker & Wrigley: 66.562%

• Wrigley is a nice moving horse, but seemed a bit difficult to ride to his full potential. McCusker had to give some quite strong half-halts to her horse, who had some tendency to pull down and get tight in the jaw. In the half passes, Wrigley seemed quite resistant in his movement sideways. The first extended trot out of passage started very early. The second trot half-pass showed better reach sideways. Wrigley had lots of spring and knee-action in his passage, but needed to take a little more of his weight behind to lift in front. The extended walk was relaxed and ground covering. There was some resistance to the bridle in the collected walk, leading to a bit of rear in the first piaffe. McCusker had to work very hard to get the activity in the passage and piaffe, though they were among the strongest elements of the test. The last piaffe was quite in place with  particularly good elevation and rhythm.

Brian Hafner & Lombardo: 66.167%

• Lombardo is a horse of high quality and as Hafner continues to polish the Grand Prix work, I can see this horse becoming quite impressive. Lombardo had really nice even reach in front and behind in his extended trots, and when they showed a little more pushing power from behind they were top class. The trot half-passes were a little flat. The horse stepped under well and showed nice knee action in passage. The extended walk was short and tense with no over-track. The first piaffe the impression of having a bit of backward tendency, and the horse reared in the second.  The tempis were clean and ground covering but rather flat. The extended canter was uphill and showed a lot of risk. Neither line of ones was quite straight. The canter rhythm in the pirouettes was super and they were very balanced, though they could come up more in front. The last piaffe was secure.

Dressage at Devon - 2013

I could not have asked for more perfect weather for my visit to Dressage at Devon yesterday. The sun was bright, and the blue of the sky was interrupted only by a few cottony cumulus. With the temperatures cooling off at the beginning of fall, all the foliage has began to change to reds and oranges. And the show organizers took advantage of nature's new color palette, supplementing it with orange and yellow flowers around the arena (which I loved, as you might be able to tell from the photos I took!). With so much work to do for my day job, I mostly stopped by to soak up the atmosphere and check out the trade stands. I decided mostly to enjoy the lovely day, rather than engaging in intense examination of the dressage.

J. Peter Andersen & Pastorale

By the time I arrived at Devon after my own morning at the barn, the Intermediare I was halfway over—meaning I missed all of the top three rides (including Brittany Frasier's second place performance by minutes!). The first ride I saw was J. Peter Anderson and Pastorale, the first of quite a large number of greys. George Williams had quite a nice ride with the lovely, light-footed mover Cleopatra. Every movement went off cleanly and Williams rides with a lot of tact. The partnership is still developing, however. Cleopatra was not always one-hundred-percent supple or steady in the bridle.

George Williams and Cleopatra

Entering at A

Carlos Munoz also pulled off a very respectable test on Klouseau. The horse moves very well uphill in the trot work. Klouseau became a bit tight and restricted at times, limiting the elasticity of his reach in front. In extended walk, the horse stepped a bit short in the left hind. The canter pirouettes leaned slightly in the direction of turning, but Munoz rode lots of lift in the horse's front end. The frame was consistently soft and up in the bridle.

Hans Werner Dressler & Lotario

Heather Mendiburu & What Happened 

Behind the entrance at A is the trade fair. And behind that is suburban Pennsylvania!

The stabling at Devon.

Sara Spofford-Bilinski & Lagrima

After  watching five or six of the I1 rides, I wandered off to check out the trade fair. I wanted to buy quite a few smart fly bonnets and matching saddle pads as well as a couple of absolutely beautiful grey and orange coolers. But with the help of a not-very-full wallet, I resisted all the various temptations except a funnel cake. Not being from the East Coast, the sweet novelty of that fair-food staple was a necessary indulgence!

Tina Konyot schooling Calecto's piaffe.

Robert Dover training Tina Konyot

The outside ring of booths took me down a path to the warm-up arenas, where I arrived just as Tina Konyot walked out to school Calecto for the evening's Grand Prix Freestyle. After a long walk, she picked the stallion up into a short frame and stepped right into a rhythmical, sitting piaffe. Calecto has an amazing ability to close at the base in piaffe without loss of balance or regularity. Konyot sits beautifully into her horse's movement. After a few times working piaffe in and out of the walk, Konyot began working passage and the transitions in and out of piaffe. 

While in piaffe, Calecto can really sit, he has a tendency to become rather croup high in passage. The stallion has an incredible degree of spring and suspension—which made it basically impossible for me to turn my eyes away from him to watch any other horse—but even the very skilled Konyot cannot quite harness that power into creating more lift in front. Robert Dover was coaching Konyot from the sidelines, asking her to try and lift the stallion in front, unable to avoid getting rather expressive!

Calecto is an incredibly impressive horse up close!

Dong Seon Kim and Bukowski preparing for a light mid-afternoon warm-up.     

South of the Dixon Oval is the Gold Ring,
where the JR Individual competition was taking place,
with a beautiful barn and array of foliage as its backdrop.

I finished up my afternoon watching the end of the I1. The last rider was 10th placed Patrick Tigchelaar on Davidor. Although at times the rhythm became a bit hectic, Tigchelaar really rode for his scores on Davidor, showing off the horse's excellent natural uphill gaits. 

Sahar Hirosh and Coco Cavalli

 

Sahar Hirosh and the Cheenook son Coco Cavalli after finishing their ride in the I1.

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