|
|
Quotes of Felix Bürkner
"Deepest, flat knee, low heel, and a bottom that never left the saddle, always elastically flexed abdominal and back muscles, and gently swinging hips with upright head carriage and elastically absorbing shoulders, elbows, and wrists achieved such a steady, closed, elastic contact between horse and rider that a yielding of the poll and back was the automatic consequence."
(Ein Reiterleben, 1957, 66, translation: TR)
"For the director there is no better proof of the correctness of his teaching than if he is able to have his formation ride - after the necessary preparation - in the large outdoor arena with two horses' lengths distance, later with one horse's length, in all movements: all riders in a quiet, supple, erect seat, with a low, good hand, and the horses going with great inner calm, impulsion, and chewing on a light rein."
(Ein Reiterleben, 1957, 268, translation: TR)
"A school barn, i.e. an institute that educates high school horses, must never be led from the point of view to get to the high school movements as fast as possible and no matter how, and to torture its horses into the piaffe and passage. This danger exists, which is why one can see so many horses that show shuffle steps instead of the piaffe and a slow hovering trot instead of a passage, their flanks pelted with spur kicks and their heads and necks laboriously elevated by high hands.
"Its only salvation lies simply and exclusively in a campaign school that is refined to perfection, where all horses carry themselves, where they are absolutely straight, flying in front of the rider’s aids gracefully and impulsively – in the free gaits as well as in the collected ones. The collection may be increased only out of this foundation so that the horses offer the school movements on their own with the expression of the highest collection."
(Ein Reiterleben, 1957, 265, translation: TR)
"The insertion of fluent, rhythmic medium gaits preserves the absolutely necessary happiness in the horse and prevents the danger of getting stuck by pulling and the danger of shortening the necks."
(Ein Reiterleben, 1957, 265, translation: TR)
"The good mouth must always be a main focus. It remains good, if one takes care always to yield forward downward towards the mouth with one’s hands as a reward each time even the smallest degree of permeability becomes perceptible."
(Ein Reiterleben, 1957, 265, translation: TR)
"In the school conform collected canter, the active three beat jump is the foundation for everything. The danger of the dragging four beat canter can only be avoided by letting each jump out, inserting reprises in the medium, even in the extended canter. Only in an active jumping sequence of the engaged hindquarters and with the horse's constant willingness to be sent forward from collection into a few free strides will the flying changes drop into the trainer's lap by themselves. The prerequisite for the pirouettes is: supple lateral bend and jumping under in a three beat canter in the tight pirouette volte, at first only in quarter turns and half turns, while constantly allowing the horse to gain a little ground, just as in the piaffe. The lowering of the engaged haunches must be maintained throughout."
(Ein Reiterleben, 1957, 265, translation: TR)
"Part of the piaffe training is:
Closing the horse from behind.
Creating movement, afterwards complete immobility at the halt on all four legs, then creating movement again – etc.
"These moments of movement develop into diagonal steps. These develop into rhythmic piaffe steps with gradually increasing expression with a lowered croup and growing withers. The correct harmony in the neck and head position relative to the conformation of the individual horse must be recognized and chosen. Thus, the appropriate adjustment of the auxiliary reins is of crucial importance.
"After a few good steps, halt, praise, and make sure the horse stands square, immobile and trusting with closed hind legs."
(Ein Reiterleben, 1957, 351, translation: TR)
|
