COTTAGE FEVER

ODIUM AESTHETICUM for piano Op. 71, No. 22

KORNGOLDAROONIE for string trio Op. 94

KORNGOLDAROONIE for String Trio Op. 94

PTERODACTYL DIT for piano

ANDANTE IN F MINOR for piano four hands Op. 46

OLD BOSTON for piano from 20 COVIDITTIES Op. 116

STAGRESIGNATION from COVIDITTIES Op. 116

IMMUNO-FLOPTIMISM for piano

INVENTION in G Minor for piano from TWENTY PIANO PIECES Op. 1

For more information on composer Gary Lloyd Noland, go to his website at: https://composergarynoland.godaddysites.com/

COTTAGE FEVER from 20 COVIDITTIES, Op. 116, No. 3 (Aug. 18, 2020)

This is the fifteenth in a set of twenty pieces Op. 1 (1983). Performed by the composer.

TWO-PART INVENTION IN G MINOR for piano Op. 1, No. 15

This piece belongs to a set of COVIDITTIES Op. 116. For more information on composer Gary Lloyd Noland, please visit his website at: https://composergarynoland.godaddysites.com/

STAGRESIGNATION (October 4th, 2020) belongs to a set of COVIDITTIES Op. 116. Eighteen have been completed thus far. Two more are projected for a set of twenty. For more information on composer Gary Lloyd Noland, please visit his website at: https://composergarynoland.godaddysites.com/

Gary Lloyd Noland performs OLD BOSTON for piano from his COVIDITTIES Op. 116. For more information on composer Gary Lloyd Noland, please visit his website at: https://composergarynoland.godaddysites.com/

OLD BOSTON for piano

This is the seventh of "24 Interludes" for piano Op. 71 performed by the composer. For more information on Gary Lloyd Noland, go to his website at: https://composergarynoland.godaddysites.com/
“...set in a dizzying harmonic language that loops uncontrollably through a wide-ranging gamut of possible and impossible tonalities ... The general effect is like watching wet paintings of 19th Century musical memorabilia drip into frazzled 21st Century oblivion...” —ALLEN GIMBEL, AMERICAN RECORD GUIDE (review of 24 Postludes Op. 72)

STUPIDSIZE IT for piano Op. 71, No. 7

SEPTET Op. 43 is conducted by Guy Tyler. Carol Robe, clarinet; Tom Bergeron, alto sax; Ellen Campbell, French horn; Tasana Nagavajara, violin; Anthony Dyer, violin; Forrest Moyer, double bass; Art Maddox, piano.
For more information on the composer go to: https://composergarynoland.godaddysit...
This piece was commissioned by the Oregon Music Teachers Association (OMTA) in conjunction with the Music Teachers National Association (MTNA) for the Oregon Composer of the Year Award in 1999. It is available for purchase, along with nine other works by the composer, on the recording "Selected Music from Venge Art" at NorthPacificMusic.com

SEPTET Op. 43

"Amerikan Bozo Dance" is the eighth movement of "String Quartet No. 2" (Op. 32, 1993) by Gary Lloyd Noland. It is the musical "punchline" of the movement that precedes it (titled "Polyester Fugue").  Performance by the Onyx String Quartet: Anna Presler, violin; Phyllis Kamrin, violin; Kurt Rohde, viola; Leighton Fong, cello. For more information on the composer, go to his website at: https://composergarynoland.godaddysites.com/

AMERIKAN BOZO DANCE from STRING QUARTET NO. 2, Op. 32, No. 8

This is the fourth piece in a set of thirteen from ROYAL OILWORKS MUSIC by composer GARY LLOYD NOLAND (2006). It is available on CD from North Pacific Music. For more information on the composer, please visit his website at: https://composergarynoland.godaddysites.com/

MY BABE'S GONE DOWN TO DO HER GLUE Op. 80, No. 4

Having attended a recital of musical portraits by Virgil Thomson in Boston back in the 1980s (with the composer present, whom I briefly met), I have decided to embark upon a similar pilgrimage.This piece is a delicately sculpted musical portrait of playwright David Hirson, composed and performed by Gary Lloyd Noland (December 19th, 2020). David Hirson is best known for his award-winning Broadway comedies, La Bête and Wrong Mountain. This is the second in a series of musical portraits by the composer. The first portrait, completed earlier this month (December, 2020) is of novelist, essayist and poet Alexander Theroux, which can be heard here: https://soundcloud.com/gary-noland/portrait-of-novelist-essayist-poet-alexander-theroux-for-piano

MUSICAL PORTRAIT OF PLAYWRIGHT DAVID HIRSON

GARY LLOYD NOLAND performs his ODIUM AESTHETICUM for piano Op. 71, No. 22 from his 24 INTERLUDES. To read more about the composer, please visit his website at: https://composergarynoland.godaddysites.com/

ODIUM AESTHETICUM from 24 INTERLUDES for piano Op. 71, No. 22

This is ninth piece in a set of 24 INTERLUDES for piano Op. 71, performed by the composer. For more information on GARY LLOYD NOLAND, please visit his website at: https://composergarynoland.godaddysites.com/

PTERODACTYL DIT for piano Op. 71, No. 9

The world premiere of my KORNGOLDAROONIE for string trio Op. 94 (Portland, Oregon, March, 2011) was attended by Erich Wolfgang Korngold's granddaughter, who currently oversees the Korngold estate. This performance features Corinne Stillwell, violin;  Pamela Ryan, viola;  Dorien De León, cello. This piece was composed as a tribute to Korngold: Commissioned by Marzena for the Free Marz String Trio with funding support from the Baby LeRoy Memorial Trust.

This piece is the thirteenth in a set of 24 INTERLUDES for piano Op. 71, performed by the composer. For more information on Gary Lloyd Noland, please visit his website at: https://composergarynoland.godaddysites.com/

FLAGRANTE DELICTO for piano Op. 71, No. 13

The ANDANTE IN F MINOR for piano four hands (Op. 46) was composed as an homage to Franz Schubert. To read more about composer GARY LLOYD NOLAND, please visit his website at: https://composergarynoland.godaddysites.com/

This monumental set of piano variations by Gary Lloyd Noland has been called “an historical variation set for piano, a true descendant of the Goldbergs and Diabellis, beautifully targeted to an apotheosis of supreme grandeur.”—Ernesto Ferreri, American composer.  It has also been described as “an astounding tour de force. In its far-reaching, systematic exploration of the theme’s creative possibilities, as well as in the inexhaustible imagination brought to bear, it reminds one of the Goldberg and the Diabelli. But in its monumental dimensions it goes far beyond them both, and in the large number of historical styles referenced and integrated into the work … I am unaware of any parallel. I especially enjoyed the consistent use of certain features of the theme, regardless of the style or the type of tonality, pantonality or atonality employed—among them the melodic turn, the phrases ascending by whole steps, and others. I offer my humble congratulations on a titanic achievement!”—Ludwig Tuman, composer & pianist

39 VARIATIONS ON AN ORIGINAL THEME IN F MAJOR for piano Op. 98 Part One

Resides in Portland, Oregon. Grew up in Berkeley, CA. Born in Seattle.  PhD, Harvard. “Gary Noland is one of the great composers of the 21st century.”—JACK RUMMEL, KGNU 88.5 FM, Boulder CO, “...iconoclastic, stylistic potpourri standards of giddy humor, no holds barred soup to nuts and high spirits.”—ROBERT LEVIN, pianist, musicologist, composer, "...a fleet-fingered, ebullient performer ... bright, witty and engaging.”—CHRISTIAN CAREY, SPLENDID MAGAZINE, “...distinctive, inventive ... subversive ... You can hardly be indifferent to Noland’s music and so I would urge you to try it.” —ROGER BLACKBURN, MUSICWEB INTERNATIONAL, “...set in a dizzying harmonic language that loops uncontrollably through a wide-ranging gamut of possible and impossible tonalities ... The general effect is like watching wet paintings of 19th Century musical memorabilia drip into frazzled 21st Century oblivion...” —ALLEN GIMBEL, AMERICAN RECORD GUIDE, “Mr. Noland writes as a ‘time traveler’ in styles long abandoned by most composers as well as styles so new as to not have been imagined but by him. This he accomplishes naturally, convincingly, with originality and true passion. His command of all musical languages and his ability to traverse musical time is nothing less than remarkable. Listen!”—DONALD MARTINO, Pulitzer Prize winning composer, “...mind-bending spiraling of focus which is truly breathtaking ... spectacular...”—CHARLES AMIRKHANIAN, composer, sound poet & radio producer, “I'm amazed at your harmonic skill. Haven't seen or heard anything like it from any one else—except yours truly—certainly not from your generation. It falls somewhere between Strauss and Mahler. Especially like how you are able to slip in and out from the tonal to the atonal—or near atonal...”—GEORGE ROCHBERG, American composer, Pulitzer Prize finalist, “...court jester to the classical establishment...”—PAYTON MACDONALD, AMERICAN RECORD GUIDE, “...florid and juicy...” —RICHARD BUELL, THE BOSTON GLOBE, “...an incredible aural web ... a great ostinato of American kitsch. Sul pont never sounded so good.”—RUSSELL STEINBERG, composer, conductor of the LOS ANGELES YOUTH ORCHESTRA, “...I am bowled over by the expertise of your music: you use certain elements from the 19th century and from jazz, etc., and just at the moment when I am about to say, OK, what else is new?, you do a number of things, such as speeding up, becoming wildly dissonant, modulating to a distant continent, stopping completely and throwing some kind of total surprise ... you seem to know exactly when to do what and how much. I don’t know anybody else who can do it!” —ANDREW IMBRIE, American composer, Pulitzer Prize finalist, “... remarkable stuff...”
—MAX MORATH, American ragtime pianist, composer, actor & author, “...a loony composer from Oregon...” —MAX SHEA, WMUA 91.1FM, Amherst, MA, “Gary Noland is one of those 21st Century composers seeking to forge a new aesthetic based on older models that do not traffic in serialism or minimalism ... Zany waltzes, ragtime riffs, chorales, toccatas, and much else romp and tear through these depictions of superheroes and villains from his ‘chamber novels’; other pieces spoof serial music ... to grand operas ... and Jewish guilt.” —JACK SULLIVAN, AMERICAN RECORD GUIDE, “...Paranoid Ravel...”—ALEX DUNN, KZSU FM90.3, Stanford, CA, “...It’s a romantic romp, rhythmically robust yet melodically flirting with the nostalgia of cabaret, minus the sleazy diminution of spilled drinks and smelly ashtrays. Its elegance recalls Elgar, and the serious sides, a synthesis of those strange bedfellows Schubert and Ives. Composers hate it when their music reminds you of someone else’s, but writing within a tradition, Noland has incorporated divergent styles that, woven together, work. Cosmopolitan without snobbery, it’s intelligent, pleasurable and convincing.” —ROCKY LEPLIN, THE BERKELEY VOICE

39 VARIATIONS ON AN ORIGINAL THEME IN F MAJOR for piano Op. 98 Part One

Gary Lloyd Noland, composer