By Hans Morgenstern
By Joseph Hess
By Peter Gilstrap
By Julia Burch
By Jeremy Essig
By Nathan Smith
By Julie Seabaugh
By Julie Seabaugh
Although NMC's mission has remained constant over the decades, its methods have changed. Music director Rich O'Donnell came on board early, joining NMC in 1960. "The idea," says O'Donnell, "[was to provide access to] new music, new ideas. There wasn't much of a voice for that. We still maintain that philosophy. That's our charter: to do things that most other people won't do."
While the charter remains the same, a consistent philosophy does not demand a stabile aesthetic. During his tenure with NMC, O'Donnell has witnessed a methodological evolution within the organization, one that reflects the shifting valences of presenting "new" music over a span of 42 years. "The idea of what we consider new music has changed because culture has changed," O'Donnell says. "We don't use the phrase 'avant-garde' anymore. Now we just call it improv music or free improv. But it's essentially of the same mind: just looking for, or being aware of and delighting in, imagination."
Not every musician performing under NMC's auspices shuns composition, but improvisers are in the preponderance, a tendency noted also by NMC president Gary Gronau: "Over time, our emphasis has been more and more in the direction of bringing in composer/musicians, people who are virtuosos on their instruments, in keeping with what has been the trend of cutting-edge music," Gronau explains. "These people have developed extended techniques and have become such masters of their instruments that they're able to improvise, and it has become to a large extent the lifeblood of their expression."
NMC's longevity and sustained commitment have helped the organization attract talent from a global pool. According to O'Donnell, "There's actually a very healthy underground network of people who do this. We plug into that; we're part of that network. Not that they want to be underground, but it's sometimes not reflective of recognizable forms and structures that have come from the past. There's some really original thinking and creativity going on." The international scope of the musicians who solicit NMC as an outlet testifies to the stature of the institution. "We don't have to search people out," says Gronau. "The New Music Circle has quite a reputation, nationally and internationally. Performers really want to come here. For one thing, we have a reputation in regard to how we treat performers. They really get a lot of respect when they come here."
In linking St. Louisans' access to musicians from around the world with those performers' access to an engaged audience, NMC performs an invaluable service -- one that's increasingly rare. "You can't tell where these people are from by listening to the music," O'Donnell asserts. "It has, I think, reflected what is going on in the world. We're becoming a singular community. The music that's being generated among musicians from all over the world has a common voice." This does not imply that the series lacks diversity. If the music has a common voice, it speaks in manifold dialects, as the series underway demonstrates.
The season's first performance, an installment in the Circle/Cinema subseries, was scheduled for Sept. 11, but was cancelled when national events took precedence. Chicagoan Gene Coleman was to have led the Circle/Cinema ensemble in an adaptation of his score for Aelita Queen of Mars, a 1924 Soviet science-fiction epic. The second performance of NMC's new schedule came but has now gone, as well: nmperign, the duo of Bhob Rainey and Greg Kelley, augmented for the evening by Axel Doerner and Andrea Neumann, played at The Forum for Contemporary Art on Sept. 26.
Of lost opportunities: the less said, the better, except to urge audiences to seek out NMC's spare, mutable improvisations whenever the opportunity arises.
On October 6, Frank Gratkowski will play The Forum for Contemporary Art as part of an NMC "mini-festival" devoted to the saxophone (see also: John Butcher and Andre Vida). At the core of Gratkowski's approach are breakneck shifts from the pure tonalities of a conservatory-trained musician to his unique additions to a variety of alternative instrumental techniques that defines two generations of European saxophone innovators.
Tim Hodgkinson, Thomas Lehn and Roger Turner make up the highly regarded Konk Pack, which performs at The Forum for Contemporary Art on Oct. 15. The trio layers the blips and drones of analog electronics over a percussive soundscape that oscillates from skittish to clamorous, producing a spontaneous interplay that can go from signal to noise at the twist of a knob.
King Chubby will appear Nov. 7 at Focal Point. Despite some discomfiting references to "ambient music," the sounds that emanate from the trio (Robert Dick, Ed Bialek and Will Ryan) stretch that label to the breaking point. Their pieces develop gradually, motivated by the tension between a devolution into new-age melodicism and total fragmentation. A "master of extended flute techniques," Dick has performed for NMC, in various permutations, more times than any other musician.