The Pimpleton Procrasturbation Ensemble performs MAX REGER MEETS TIMOTHY LEARY by Gary Lloyd Noland. For more information on the composer, please visit his website at: garynolandcomposer.com

MAX REGER MEETS TIMOTHY LEARY

The Pimpleton Procrasturbation Ensemble performs THERE'S NO THERE WHERE? by Gary Lloyd Noland. For more information on the composer, please visit his website at: garynolandcomposer.com

THERE'S NO THERE WHERE?

Pianist MYRNA SETIAWAN performs GOLDEN GATE RAG (Op. 123) by GARY LLOYD NOLAND. For more information on the composer, please visit his website at: garynolandcomposer.com. For more information on pianist Myrna Setiawan, please visit her website at: myrnasetiawan.com.

GOLDEN GATE RAG (Op. 123), Myrna Setiawan, piano

Pianist MYRNA SETIAWAN performs FUNERAL WALTZ, Op. 91, by GARY LLOYD NOLAND. For more information on the composer, please visit his website at: garynolandcomposer.com. For more information on pianist Myrna Setiawan, please visit her website at: https://www.myrnasetiawan.com/

FUNERAL WALTZ for piano, Op. 91, performed by MYRNA SETIAWAN

The Pimpleton Procrasturbation Ensemble performs INCANDESCENT PUTREFACTION by GARY LLOYD NOLAND. For more information on the composer, please visit his website at: garynolandcomposer.com

INCANDESCENT PUTREFACTION

The Pimpleton Procrasturbation Ensemble performs WHIPPING THE NIGHT ORGASTIC by Gary Lloyd Noland. For more information on the composer, please visit his website at: garynolandcomposer.com

WHIPPING THE NIGHT ORGASTIC

DOG DUO (arr. Sauro Berti) for bass clarinet & contrabassoon

PARTING REGRETS for piano

Pianist Myrna Setiawan performs ETUDE, Op. 1, No. 10 by Gary Lloyd Noland.

Pianist Myrna Setiawan performs ETUDE, Op. 1, No. 10 by Gary Lloyd Noland

Bass Clarinetist Sauro Berti and Contrabassoonist Fabio Morbidelli perform DOG DUO, Op. 66 (arr. Sauro Berti) by Gary Lloyd Noland. For more information on the composer, please visit his website at: garynolandcomposer.com

Sauro Berti, bass clarinetist of the Teatro dell’Opera di Roma, has collaborated with the most important Italian orchestras (Teatro alla Scala, Maggio Musicale Fiorentino, RAI National Orchestra), the Royal Scottish National Orchestra, and the Sinfonia Finlandia Jyvaskyla. He has played under G.Prêtre, R.Chailly, M.W.Chung, R.Muti, W.Sawallisch, V.Gergiev, L.Maazel, P.Boulez, and Z.Mehta. He has also participated in the DVD recording of Mozart’s Serenade No. 10 “Gran Partita” under M. Muti. Berti was a soloist at the Tokyo ClarinetFest 2008, the last five ClarinetFest 2009-2013 (Porto, Austin, Los Angeles, Lincoln, Assisi), the 2nd Costa Rica Festival, the 1st and 2nd Peruvian Congreso Latinoamericanos, the 5th “Congreso de Madrid,” the Festival Guimaraes 2012, and the 3rd Guatemala Festival 2013. In 2009 he obtained his conducting diploma with D.Renzetti. He has published Venti Studi per Clarinetto Basso, Tuning for winds (Suvini Zerboni), his version of V. Bucchi’s concerto and the album Suggestions with N. Fujiya (Edipan).

Berti plays on Buffet Crampon instruments and is a Rico Artist.

Fabio Morbidelli is an orchestra musician at Teatro dell'Opera di Roma

DOG DUO (arr. Sauro Berti) for bass clarinet & contrabassoon, Op. 66

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

FOSSILIZED ROMANCES

PARTING REGRETS for piano, Op. 126, No. 5, composed & performed by GARY LLOYD NOLAND. For more information on the composer, please visit his website at: https://garynolandcomposer.com/

PARTING REGRETS for piano, Op. 126, No. 5

The Pimpleton Procrasturbation Ensemble performs DOOM WOP BA-DOOM, Op. 140, No. 1, by Gary Lloyd Noland (January 6th, 2023). For more information on the composer, please visit his website at: garynolandcomposer.com

DOOM WOP BA-DOOM, Op. 140, No. 1

Pianist Julia Amirova performs FUGHETTA, Op. 1, No. 14 by Gary Lloyd Noland. For more information on the composer, please visit his website at: garynolandcomposer.com

Pianist bio:

Julia Amirova is a Ukrainian pianist, arranger and composer now living in Krakow, Poland. Julia started her musical career as a performer of classical music. In 2011, Julia graduated cum laude from Kyiv Institute of Music with a major in “Solo musician, accompanist, ensemble performer”, where she studied at Tetiana Pivovarova’s class. In 2012, she graduated cum laude from Kyiv National University of Theatre, Cinema and Television majoring in sound mastering. As a student, she won numerous competitions and festivals in Kyiv and throughout Ukraine (III place at International Festival “The art of XX century” in 2002, Worzel, Ukraine, II place in Music Festival “Zoloti Zerniata Ukrainy” in 2004, Kyiv, Ukraine, laureate of the Kyiv Region Competition of Young Pianists in 2004, 2005, 2006, I place at Kyiv City Olympiad of the History of Music, 2004, I place at the Kyiv Piano Duet Competition “Traditional and Contemporary” in 2006, I place, III place and II place at Etude Competition at Kyiv Institute of Music at 2008, 2009 and 2010). Awarded the Kyiv major’s scholarship for academic success and significant creative achievements (2004) and diploma for creative contribution to the activities of Kyiv Institute of Music (2011). Among the styles of music Julia prefers Late Romanticism, Impressionism and modern music. Julia’s fondness for jazz and rock music dates back to school time; she was very excited when she first heard “The Koln Concert” of the famous jazz pianist Keith Jarrett.

In 2011, she started the band Strikha-project together with her friends. The band played traditional Ukrainian folk songs in modern arrangements, combined with jazz, blues and electronic music.

In 2014, she moved to Krakow to study at Krakow School of Jazz and Modern Music (her teachers were Piotr Kalicki and Dominic Wania). In 2015, Julia participated in the International Summer Jazz Academy in Krakow, where she was a special assistant. She co-founded the band KlezzJezz, where she made arrangements, created her own compositions and played the piano. The main direction of the band’s creative work was playing klezmer music in jazz arrangements along with their own pieces.

In 2016, Julia started the band Good Flow Trio. It plays jazz standards and popular songs in the band’s own swing, soul, bossa nova and pop arrangements.

In 2018, she started the girls jazz kwartet “Fuzzy Birds” together with friends. It plays own compositions in jazz, fusion, jazz-rock and jazz-folk styles.

In 2020, she graduated cum laude from Krakow Academy of Music majoring in jazz piano at Joachim Mencel’s class. There she met Mikolaj Sikora, the bassist, and Patryk Gajda, the drummer; together, they formed Julia’s own jazz band Amirova Trio. Main style of Amirova Trio’s music is jazz: contemporary jazz, modern jazz, groove, but Slavic folklore influences it greatly.

FUGHETTA for piano, Op. 1, No. 14 (1983)

The Pimpleton Procrasturbation Ensemble performs INCANDESCENT PUTREFACTION by Gary Lloyd Noland. For more information on the composer, please visit his website at: garynolandcomposer.com

The Pimpleton Procrasturbation Ensemble performs "A Stern Prussian Head - Governess Follows to a T the Rigorous Codes of Practice Laid Out in Obsolescent Victorian-Era Toilet-Training Manuals for Micro-Regulating the Excremental Excretions of her Young Charges, viz. the Sons & Daughters of Prosperity-Gospel-Banging Fundamentalists and their Belarusian Mail-Order Brides" by Gary Lloyd Noland. For more information on the composer, please visit his website at: garynolandcomposer.com

A Stern Prussian Head - Governess Follows to a T the Rigorous Codes of Practice Laid Out in…

Pianist Ethan Dunne performs AUBADE, Op. 40, No. 5 by Gary Lloyd Noland. The score of this piece is available in COLLECTED PIANO WORKS: Volume 1, which is available for purchase at most major book retailers, including Amazon at: https://www.amazon.com/Collected-Piano-Works-Lloyd-Noland/dp/1732302383/ref=sr_1_1?crid=1TGM5EQRWT221&keywords=gary+lloyd+noland+in+books&qid=1674241227&sprefix=gary+lloyd+noland%2Caps%2C146&sr=8-1

For more information on composer Gary Lloyd Noland, please visit his website at: garynolandcomposer.com

AUBADE for piano, Op. 40, No. 5

The Pimpleton Procrasturbation Ensemble performs MAX REGER MEETS TIMOTHY LEARY by Gary Lloyd Noland (January 22nd, 2023). For more information on the composer, please visit his website at: garynolandcomposer.com

The Pimpleton Procrasturbation Ensemble performs THERE'S NO THERE WHERE?, Op. 143, No. 9, by Gary Lloyd Noland (January 23rd, 2023). For more information on the composer, please visit his website at: garynolandcomposer.com

THERE'S NO THERE WHERE?, Op. 143, No. 9

Pianist MYRNA SETIAWAN performs GOLDEN GATE RAG, Op. 123 (1974, revised 2021) by GARY LLOYD NOLAND. This piece is dedicated to the memory of pianist/composer VICTOR STEINHARDT (1943-2021).

Pianist MYRNA SETIAWAN performes FUNERAL WALTZ, Op. 91 (2008) by GARY LLOYD NOLAND. This piece is dedicated to the memory of JOHN MEREDITH SWACKHAMER (1923-2006).

FUNERAL WALTZ, Op. 91, performed by pianist MYRNA SETIAWAN

The Pimpleton Procrasturbation Ensemble performs WHIPPING THE NIGHT ORGASTIC, Op. 143, No. 6, by Gary Lloyd Noland (January 25th, 2023). For more information on the composer, please visit his website at: garynolandcomposer.com

WHIPPING THE NIGHT ORGASTIC, Op. 143, No. 6

Pianist Myrna Setiawan performs ETUDE, Op. 1, No. 10 (1983) by Gary Lloyd Noland. For more information on the composer, please visit his website at: garynolandcomposer.com

ETUDE for piano, Op. 1, No. 10; Myrna Setiawan, piano

The Pimpleton Procrasturbation Ensemble performs HARMONIOUS WEDLOCK, Op. 143, No. 2, by Gary Lloyd Noland (February 3rd, 2023). For more information on the composer, please visit his website at: garynolandcomposer.com

HARMONIOUS WEDLOCK, Op. 143, No. 2

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

HARMONIOUS WEDLOCK, Op. 143, No. 2

Gary Lloyd Noland, composer