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|
| Date |
03/06/05 |
| Country |
UK |
| Town |
Bath |
| Venue |
Bath International Music Festival 2005, Kingswood School Theatre |
| Setlist |
01. The Service of Tim Henman |
| Pix |
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| Note |
Will Gregory, composer and one half of Goldfrapp, has written a piece of music inspired by British tennis ace Tim Henman, to accompany a film of dramatically slowed-down footage of Henman in match play.
The performance features a new chamber ensemble of nine monophonic synthesizers, with special featured soloist Django Bates, and contributions from Portishead's Adrian Utley, and Graham Fitkin. |
| Reviews |
Will Walder saw The Service of Tim Henman by composer, and one half of Goldfrapp, Will Gregory at the Kingswood Theatre in Bath on 3 June, 2005. Did it game, set and match up to his expectations?
At the end of a rainy day in Bath, is there a better way to celebrate the fast-approaching tennis season in this country, than by watching a performance based around the finer points of Tim Henman's game?
Being a regular gig-goer, I wasn't used to the cordial atmosphere of the evening. The fact that I had to sit down for the whole performance without jumping around was very hard!
Synthesizers and Tim Henman
I entered the theatre and was struck by the sight of an octet of synthesizers sitting in front of me, waiting for their masters.
Tim and his recognisable triumphant clenched fist!
I was expecting an orchestra, or more regular instruments, but seeing the electronic noise-makers in front of me filled me with dread.
Having spent my childhood having to listen to my brother blasting out the Pet Shop Boys and The Human League from the other end of my house, this was not a prospect I was entirely enthralled with.
However, I tried not to be too clouded by this, as I knew that the piece had been written by Goldfrapp's Will Gregory, and it was his name that had drawn me to the performance in the first place.
The image of Tim Henman on the giant screen behind the musicians was intimidating.
Will Gregory's idea of writing the music loosely around a slowed-down projection of Henman is a fantastic idea, but the vision of a giant Tim Henman staring coldly at you for more than a minute is scary.
Henman strikes
During the first movement (the serve), I actually felt like hiding behind something, as the stare of Henman was matched by music that could really be paired with the build-up to any sporting moment.
The music made me feel quite claustrophobic, as it reminded me of a beating heart with a focused central rhythm that built up tension around the room and left me anticipating the moment Henman would strike.
Surrounding the central rhythm was a swirling sound that placed the audience between the two. The only place where I've heard the same sort of sound before was the crowd at a football stadium in the minutes building up to the kick-off.
It's with this comparison that Will Gregory manages to capture the essence of a sporting event in his music.
The nerves, the focus and, most importantly, the isolation of the sportsman as the crowd fixes their gaze upon him.
The way in which this performance reflects the event is something that I thought couldn't be done, but as the first movement reached its climax, I felt the hairs stand up on my arms and a cold shiver run down me.
When the ball was struck at the top of the serve and the bass kicked in, it felt like it was game on.
The performance dealt with different parts of the game and being in the audience felt like being in the crowd at Wimbledon or Roland Garros.
Henman wins the point
In the fourth movement, we saw Henman winning a point, his face looking brutal with cold, steely eyes that one would expect with a top sportsman.
Synthesizers in front of a giant Tim Henman
Added to this were the dark, gritty tones of Gregory's score, creating the feeling of war and the destruction of an opponent.
The more I looked up and saw Henman's savagely contorted face, with his instantly recognisable triumphant clenched fist, the more I saw a warrior turning away from a kill.
In The Service of Tim Henman, Will Gregory brought sport down to its most basic level. He has captured the emotion that is contained within sport and the notion that while sportsmen are playing sport, beating your opponent is all that matters.
The performance is an extremely intense experience and when it was over, I felt as physically drained as when I've jumped around for an hour watching a gig, and as emotionally drained as when Southampton lost the FA Cup in Cardiff.
As a sports fan, I felt that I had been cheated by this performance as I felt like I'd been shouting from the terraces throughout, yet I hadn't said a word and I'd been sitting down the whole time.
Anyone for tennis?
I have never thought that it would be possible to recreate the feelings of a goal going in, or a point being scored, but The Service of Tim Henman manages to come closer than any piece of music ever has for me.
The combination of the slowed-down visual effects and the music are a masterpiece, and I would hope that this is performed again, as it too good to be a one-off.
This piece manages to transcend the barriers of tennis and its message is easy enough to pick up in all sports.
And as for my worries about synthesizers, I'm just glad I've been shown what they can do when they're used properly.
Now... anyone for tennis?
(Will Walder, from BBCmusic) |
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