LIEBESSCHMERZ FUGE for piano & other compositions by GARY LLOYD NOLAND

PHILOMATHETIQUE for piano and other compositions by GARY LLOYD NOLAND

Musical Portrait of Camille Paglia and other compositions by Gary Lloyd Noland

Allemande for piano and other compositions by Gary Lloyd Noland

Sevenupmanship for piano and other compositions by Gary Lloyd Noland

Psychonipptions for piano and other compositions by Gary Lloyd Noland

Careero-Phlegmatic Blah-Blahs for piano and other compositions by Gary Lloyd Noland

Sinfonia for piano and other compositions by Gary Lloyd Noland

Amerikan Bozo Dance for string quartet and other compositions by Gary Lloyd Noland

Gottes Sohn ist kommen: a Chorale Prelude for piano and other compositions by Gary Lloyd Noland

Members of the PROCRASTURBATION ENSEMBLE perform BIG TIME SMALLSHOT by GARY LLOYD NOLAND. Members of the ensemble are: ORLAN DOY GLANDLY, DOLLY GRAY LANDON, LON GAYLORD DYLAN, DORLAND OLLY YANG, ARNOLD DAY LONGLY, and the composer himself. For more information on composer GARY LLOYD NOLAND, please visit his website at: https://composergarynoland.godaddysites.com/

BIG TIME SMALLSHOT

The PIMPLETON PROCRASTURBATION ENSEMBLE performs BLARG - MA - GLARG by GARY LLOYD NOLAND. For more information on the composer, please visit his website at: https://composergarynoland.godaddysites.com/

BLARG - MA - GLARG

The PIMPLETON PROCRASTURBATION ENSEMBLE performs CANDY CANES & COLONOSCOPIES by GARY LLOYD NOLAND. For more information on the composer, please visit his website at: https://composergarynoland.godaddysites.com/

CANDY CANES & COLONOSCOPIES

The PIMPLETON PROCRASTURBATION ENSEMBLE performs THE KAFKA DOGS OF CHINATOWN by GARY LLOYD NOLAND. For more information on the composer, please visit his website at: https://composergarynoland.godaddysites.com/

THE KAFKA DOGS OF CHINATOWN

Adagietto Doloroso in G Minor for piano: in memoriam Frederic Rzewski (Op. 121). Having just learned of the death of composer/pianist Frederic Rzewski this morning (26 June, 2021), I felt strongly that this piece I was in the process of composing (with only a few finishing touches needed before the score goes to press) would act as a suitable homage to this titan among composers, who influenced so many of us, and whom I had the good fortune of meeting on a couple of occasions back in the early 1990s after hearing him perform his own compositions on a couple of concerts in the Bay Area. His music will not be forgotten and his legacy will live on. He is, arguably, one of the most important composers for the piano of the past fifty years. Rest in peace, Frederic Rzewski! You were one of the great musicians of your time! For more information on Gary Lloyd Noland, please visit his website at: composergarynoland.godaddysites.com/

Adagietto Doloroso in G Minor for piano: in memoriam Frederic Rzewski

Adagietto Doloroso in G Minor for piano: in memoriam Frederic Rzewski (Op. 121). Having just learned of the death of composer/pianist Frederic Rzewski this morning (26 June, 2021), I felt strongly that this piece I was in the process of composing (with only a few finishing touches needed before the score goes to press) would act as a suitable homage to this titan among composers, who influenced so many of us, and whom I had the good fortune of meeting on a couple of occasions back in the early 1990s after hearing him perform his own compositions on a couple of concerts in the Bay Area. His music will not be forgotten and his legacy will live on. He is, arguably, one of the most important composers for the piano of the past fifty years. Rest in peace, Frederic Rzewski! You were one of the great musicians of your time! For more information on Gary Lloyd Noland, please visit his website at: https://composergarynoland.godaddysites.com/

Adagietto Doloroso for piano: in memoriam Frederic Rzewski

Deformed Fugue for harpsichord Op. 17 (1977, revised 1990). For more information on composer Gary Lloyd Noland, please visit his website at:
https://composergarynoland.godaddysites.com/

Royal OilWorks Music

Deformed Fugue for harpsichord Op. 17

Gottes Sohn ist kommen: a Chorale Prelude for piano based on J.S. Bach's Choralgesang B.A.  39, No. 65 (Michael Weisse 1531)Op. 122, No. 1 from Three Incongruisms by Gary Lloyd Noland (originally composed in 1976-77, revised and completed on July 23rd, 2021). This work is planned for publication in the Collected Piano Works of Gary Lloyd Noland, Volume 2, with its planned release date in the Autumn of 2021. For more information on the composer, please visit his website at: https://composergarynoland.godaddysites.com/

Gottes Sohn ist kommen: a Chorale Prelude for piano Op. 122, No. 1  from 3 Incongruisms

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

Philomathetique (in memoriam David Lewin) is the first in a set of "24 Postludes" for piano Op. 72, No. 1 performed by the composer. For more information on Gary Lloyd Noland, please visit his website at: https://composergarynoland.godaddysites.com/

PHILOMATHETIQUE for piano Op. 72, No. 1

DOG DUO Op. 66 is scored for either viola & cello or clarinet & bassoon. This is an electronicized version. To read more about composer GARY LLOYD NOLAND, please visit his website at: https://composergarynoland.godaddysites.com/

DOG DUO Op. 66

The score of GRANDE RAG BRILLANTE for piano Op. 15 (1979, revised 1989)is now available for purchase in Noland's COLLECTED PIANO WORKS: Volume 2, which is available from Amazon at the following link: https://www.amazon.com/Collected-Piano-Works-Lloyd-Noland/dp/1732302391/ref=sr_1_1?dchild=1&keywords=collected+piano+works+volume+2&qid=1632858000&sr=8-1,  This piece is acknowledged in Nicolas Slonimsky's MUSIC SINCE 1900, was premiered on KPFA (Pacifica) Radio on October 4th, 1991 in celebration of the historic inauguration of its (then) brand new facility in Berkeley, California.

Free Download

GRANDE RAG BRILLANTE for piano Op. 15

FRIVOLIZATION ASSERTS ITSELF is the sixth in a set of 24 POSTLUDES for piano Op. 72 performed by the composer. For more information on Gary Lloyd Noland, please visit his website at:

FRIVOLIZATION ASSERTS ITSELF for piano from 24 POSTLUDES Op. 72, No. 6 No. 6

Pianist Randall Hodgkinson performs SINFONIA from SIX AND A HALF PIECES FOR PIANO Op. 8, No. 3. This piece was composed in 1978. For more information on composer GARY LLOYD NOLAND, please visit his website at: https://composergarynoland.godaddysites.com/

SINFONIA for piano Op. 8, No. 3

CAREERO-PHLEGMATIC BLAH-BLAHS from 24 POSTLUDES for piano, Op. 72, No. 8 performed by the composer. For more information on GARY LLOYD NOLAND, please visit his website at: https://composergarynoland.godaddysites.com/

CAREERO-PHLEGMATIC BLAH-BLAHS for piano, Op. 72, No. 8

PSYCHONIPPTIONS from 24 POSTLUDES for piano Op. 72, No. 5 performed by the composer. For more information on GARY LLOYD NOLAND, please visit his website at: https://composergarynoland.godaddysites.com/

PSYCHONIPPTIONS for piano Op. 72, No. 5

SEVENUPMANSHIP from 24 INTERLUDES for piano Op. 71, No. 11 performed by the composer. For more information on GARY LLOYD NOLAND, please visit his website at: https://composergarynoland.godaddysites.com/

SEVENUPMANSHIP for piano Op. 71, No. 11

Pianist Randall Hodgkinson performs ALLEMANDE from SIX AND A HALF PIANO PIECES by GARY LLOYD NOLAND

ALLEMANDE for piano Op. 8, No. 4

MUSICAL PORTRAIT OF CAMILLE PAGLIA by Gary Lloyd Noland

MUSICAL PORTRAIT OF CAMILLE PAGLIA

LIEBESSCHMERZ FUGE was begun in 1981 and underwent revisions on and off for 28 years until it was finally completed in 2009.  When the initial sections of this piece were shared at the piano by Noland in Leon Kirchner's composition seminar at Harvard in 1984 (when he was a second-year graduate student there at the time), it was vehemently discouraged—read:  suppressed ("censored" is the more apt term).  The composer later shared it with Earl Kim (another composer on the faculty), who was quick to dismiss it as a trifling "improvisation" (which it most assuredly wasn't!).  Later, in the course of his graduate studies at Harvard, Noland came close to being kicked out of the program on account of his propensity for writing music that was considered "unfashionable" by those in the front office (it was never expressed in such terms but wasn't all that difficult for the composer to read the writing on the walls).  By sheer force of will, Noland managed to stay on in the program (by the skin of his teeth) and receive his useless doctoral degree from that insane institution.  It is said that "neo-romanticism" is in fashion nowadays.  Noland was, quite possibly, the first "neo-romantic" composer of his generation, yet he continues to remain outside the radar of today's classical music mainstream.

LIEBESSCHMERZ FUGE for piano Op. 95 (2009)

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

Adagietto Doloroso for piano: in memoriam Frederic Rzewski

Gary Lloyd Noland, composer