Asymptophlegmaticism from 20 Coviditties Op. 116

ARISTOBOMBASTIC TRIPE DREAM by Gary Lloyd Noland (July 30th, 2025). For more information on the composer, please visit his website at: garynolandcomposer.com

ARISTOBOMBASTIC TRIPE DREAM

MIDNIGHT VACUUM CLEANING PHRENZY by Gary Lloyd Noland (July 30th, 2025). For more information on the composer, please visit his website at: garynolandcomposer.com

MIDNIGHT VACUUM CLEANING PHRENZY

FRANTICALLY STRIVING TO FEEL OPTIMISTIC by Gary Lloyd Noland. For more information on the composer, please visit his website at: garynolandcomposer.com

FRANTICALLY STRIVING TO FEEL  OPTIMISTIC

GAUNTLET JAUNT by Gary Lloyd Noland (August 6th, 2025). For more information on the composer, please visit his website at: garynolandcomposer.com

GAUNTLET JAUNT

VISPROINTIAMO No. 11 for piano, composed and performed by Gary Lloyd Noland. For more information on the composer, please visit his website at: garynolandcomposer.com

VISPROINTIAMO NO. 11 for piano

A HOST OF CONFLICTING AGENDAS by Gary Lloyd Noland. To read more about the composer, please visit his website at: garynolandcomposer.com

A HOST OF CONFLICTING AGENDAS

PROMENADING PLUTOCRATIC MORONS by Gary Lloyd Noland. For more information on the composer, please visit his website at: garynolandcomposer.com

PROMENADING PLUTOCRATIC MORONS

AMBIENT MUSIC FOR NEUROTICS by Gary Lloyd Noland. For more information on the composer, please visit his website at: garynolandcomposer.com

AMBIENT MUSIC FOR NEUROTICS

DEI MADRIGAL for mixed choir by Gary Lloyd Noland (Sept. 18th, 2025). For more information on the composer, please visit his website at: garynolandcomposer.com

DEI MADRIGAL for mixed choir

F*CK THE SYSTEM! for mixed choir, two pianos, and objects that can be hit, thrown & banged by Gary Lloyd Noland (September 21st, 2025). For more information on the composer, please visit his website at: garynolandcomposer.com

F*CK THE SYSTEM! for mixed choir, two pianos, and objects that can be hit, thrown & banged

Composer Gary Lloyd Noland performs his COVIDÉCADENSE for piano, Op. 116, No. 5 (August 12th, 2020).  For more information on Gary Lloyd Noland, go to his website at: garynolandcomposer.com

COVIDÉCADENSE for piano, Op. 116, No. 5 (Aug. 12, 2020)

Those carriers of the coronavirus who are asymptomatic are not always aware of the havoc being wreaked upon their innards or how it potentially effects others, including loved ones, in their immediate vicinity. ASYMPTOPHLEGMATICISM is a psychopathological condition shared by unmasked shedders of the Tr*mp virus who display no outward symptoms of the infection yet don’t give a flying fig if they transmit it to their fellow travelers.
This piece explores the blithe, careless insouciance and complacent, unguarded optimism of many asymptomatic carriers of the coronavirus. Imagine that under the skin all the organs of one's body, including the brain, are being silently ravaged by this sneaky and insidious infection, unbeknownst to lackadaisically over-confident spreaders thereof. This is a piece with a message: Be wary of all strangers as well as those nearest and dearest to you! Practice social distancing to the uttermost! You never know where that pesky virus might be lurking, ready to ambush its next unsuspecting prey! For more information on composer Gary Lloyd Noland, go to his website at: https://composergarynoland.godaddysites.com/

ASYMPTOPHLEGMATICISM from 20 COVIDITTIES Op. 116, No. 15

May 27th, 2006: Performance of “Venge Art: a Chamber Novel for Narrator, Musicians, Actors, Dancers & Culinary Artists, Op. 83, Fascicle #17, Chapter 17: “MacJob.” Gary Noland, narration & piano; Jeff Winslow, toys & gadgets; Terry Wergeland, Theremin, baritone, accordion, trumpet; Ines Voglar, violin; Kris Klavik, oboe & English horn; Shirley Johnson, Djembe; Dan Johnson, resonator guitar; Jack Gabel, audience prompts; Ben Farrell, toys & gadgets; John Caughman, trumpet. Seventh Species Composers Concert Series, Sherman Clay, Portland, Oregon.

MACJOB from VENGE ART Fascicle 17, Chapter 17, Op. 83

This rendition of PORNOMUSIK by GARY LLOYD NOLAND was completed on August 26th, 2018. The original recording at the piano dates back to ca. 2000-2002. The score consists of twelve pages of lavishly illustrated lurid comix with dialogue balloons containing carefully conceived albeit random texts (illustrated by the composer's  visual artist alter ego LON GAYLORD DYLAN and written by his novelist and playwright alter ego DOLLY GRAY LANDON) that is recited by the performer(s). Any number of musicians is permitted to perform this piece in the configurations of their choosing, which lends considerable flexibility to interpretations thereof. This recording consists of the composer at the piano extemporizing and reciting from the dialogue balloons provided in the score. The illustrations in the score date back to ca. 1971-72, when the artist (composer) was only fourteen years of age and residing in Garmisch-Partenkirchen, Germany (where Richard Strauss lived for much of his life until his death in 1949). Every performance of this piece yields completely different results. This performance is one of many possible interpretations.

PORNOMUSIK Op. 48 (2000)—Aug. 26, 2018

CONVENTION DEFICIT is the twentieth in a set of 24 INTERLUDES for piano. Performed by the composer. For more information on GARY LLOYD NOLAND, please visit his website at: https://composergarynoland.godaddysites.com/

CONVENTION DEFICIT for piano Op. 71, No. 20 from 24 INTERLUDES

This is a setting of Alexander Theroux's poem THE CABARET OF THERESIENSTADT for soprano & piano by composer GARY LLOYD NOLAND.

THE CABARET OF THERESIENSTADT (setting of poem by ALEXANDER THEROUX) for soprano & piano

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

MACJOB from VENGE ART Fascicle 17, Chapter 17, Op. 83

Gary Lloyd Noland, composer

Related tracks