It was an evening kick off, with both home and away
fans slow to take their seats, having propped up the
pre-match bar. The referee was reluctant to start but
finally had to give in to the demands of satellite TV
(OK, I made that bit up) and started at 7.40. Nyman
took to the pitch in all black, save for a rather
dodgy sideline in sock wear, and proceeded to play a
relaxed formation of 3-3-2-1, that is - groupings of
pieces from the films Wonderland,
Gattaca, Anne Frank and The End Of
The Affair.
Within ten minutes he was a goal up, thanks to a
sensitive choice of music to accompany a new silent
film by Phil Maxwell and Hazuan Hashim,
a moving depiction of London's East End. The everyday
mundanities it showed were communal scenes - a shop, a
bus stop, the bookies, the characters struggling
through life. None more so than a poor older gentleman
with one leg, forced to take refuge in a shop
doorway.
After this moving opening, Nyman conceded an
equaliser in the form of solo piano renditions of
scenes from the latter films mentioned above, which
lacked colour and zest, pleasant on the ear though
they were. Towards half time - I kid you not, the
first half was forty five minutes! - he regained the
advantage, accompanying the silent film
Manhatta, shot in the 1920s in response to the
poem by Wilfred Owen.
The grandeur of the
skyscrapers and the industrial splendour were not
fully matched by the score however, again starkly
textured, despite the busy keyboard on an accompanying
tape. Nyman certainly wouldn't win any plaudits for
stage presence either, sitting remarkably still
throughout and displaying little or no emotion.
All square at the break then, but Nyman conceded an
own goal at the start of the second half when he
continued with solo piano performances of The
Exchange (from the film The Claim, and
inevitably, The Piano. Here the crowd sat up
and took noticeably more interest, and Nyman too
displayed far more animation to make this the musical
highpoint of the evening.
A third silent picture was a triumph - A Propos
De Nice, the famous Jean Vigo film of 1930.
Undoubtedly the film was the bigger star than the
music, but Nyman's score had much to commend it, with
some persuasive themes that characterised well, if not
quite capturing the humour of Vigo's camera. One
particular motif, a natural 'homecoming' episode,
could have seen its potential realised as a greater
part of the end.
Rather like QPR's attack this season, Nyman didn't
put away all his chances, and yet like Norwich's
defence he conceded a few soft efforts. But a score
draw was a fair result, with a couple for each side
the shape of two extra time encores, and the crowd
went home happy, if not quite chanting the composer's name.
BUY Michael Nyman - The Piano OSR
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