A depiction of a Scottish celebration for the national saint's day, St. Andrew. All themes except the hymn tune St. Andrew are original but done in the style of traditional strathspeys, reels and jigs.

St. Andrew's Day Ceiligh

Two of Bertolt Brecht's "Hollywood Elegies" set for soprano and piano by Gary Lloyd Noland (Op. 2, 1982). (1) "Above the Four Cities,"  (2) "The Angels of Los Angeles."  Rebecca Gorlin, soprano; Gary Noland, piano.  English translations by John Willett.  Permission for using poems granted by Methuen, Inc., 29 West 35th Street, New York, N.Y. 10001. In 1983 George Rochberg wrote of these songs, "Haven't heard anything like it from anyone else..."

Hollywood Elegies for soprano & piano, Op. 2 (poems by Bertolt Brecht)

The Pimpleton Procrasturbation Ensemble performs COVID IS THE WORST THING SINCE THE BEETLES by Gary Lloyd Noland (April 6th, 2024). For more information on the composer, please visit his website at: garynolandocomposer.com

COVID IS THE WORST THING SINCE THE BEETLES

The Pimpleton Procrasturbation Ensemble performs BOYZ AND GIRLZ, JUST GET OVER IT AND MOVE ON! by Gary Lloyd Noland (April 21st, 2024). For more information on the composer, please visit his website at: garynolandcomposer.com

BOYZ & GIRLZ, JUST GET OVER IT AND MOVE ON!

The Pimpleton Procrasturbation Ensemble performs BOYZ & GIRLZ, JUST GET OVER IT AND MOVE ON! by Gary Lloyd Noland. For more information on the composer, please visit his website at:

The Nest of Flying Things: The Wasp (Vivace) 2024

For all of you naysayers on the value of AI as a compositional tool: When Joseph Haydn died in 1809, he left many unfinished works, a boon for AI enthusiasts. Here, Haydn's torso Sonata in D Major for Piano became my source of inspiration to employ AI and see if it was up to the task of completing at least one unfinished movement. Here are the results of the Adagio, where, for some unknown reason, Haydn abruptly discontinued the work at measure 69.

When AI CompleteD An Unfinished Haydn Sonata

The Pimpleton Procrasturbation Ensemble performs NO WORRIES! EVERYTHING WILL BE JUST FINE! by Gary Lloyd Noland (June 8th, 2024). For more information on the composer, please visit his website at: garynolandcomposer.com

NO WORRIES! EVERYTHING WILL BE JUST FINE!

The Pimpleton Procrasturbation Ensemble performs A FOGGY NOTION FOR ANYONE WHO NEEDS ONE by Gary Lloyd Noland (June 17th, 2024). For more information on the composer, please visit his website at: garynolandcomposer.com

A FOGGY NOTION FOR ANYONE WHO NEEDS ONE

A Way Out Part 3

A Way Out Part 6

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

Hollywood Elegies for soprano & piano, Op. 2 (poems by Bertolt Brecht)

Gary Lloyd Noland, composer

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