RAGBONES for piano Op. 11

PHILOMATHETIQUE for piano, Op. 72, No. 1

GREY MALIGNANT BANKS from ROYAL OILWORKS MUSIC Op. 80, No. 3

GRANDE RAG BRILLANTE for piano Op. 15

THE MAD VENTURES OF MARGINMAN for piano Op. 72, No. 16

PRELUDE & ZOOTROT for piano Op. 22

ANDANTE IN F MINOR for piano four hands Op. 46

Schizomezzo for piano Op. 85

"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 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.

KORNGOLDAROONIE for string trio Op. 94

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/

Prelude & Zootrot for piano Op. 22 (1991)by Gary Lloyd Noland. For more information on the composer, please visit his website at: https://composergarynoland.godaddysites.com/

Ragbones Op. 11 (1978, revised 1988) is one of six piano rags by Gary Lloyd Noland. To read reviews of the composer, please visit his website at: https://composergarynoland.godaddysites.com/reviews

Dreadmill Op. 37 is scored in two versions: viola & double bass and/or clarinet & double bass. This is an electronicized version of the piece. To read more about composer GARY LLOYD NOLAND, please visit his website at:

DREADMILL Op. 37

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

The Mad Ventures of Marginman is the sixteenth in a set of 24 Postludes for piano Op. 72, No. 16, performed by the composer. To read more about Gary Lloyd Noland, please visit his website at: https://composergarynoland.godaddysites.com/

Pianist Maria Choban performs SCHIZOMEZZO Op. 85 by Gary Lloyd Noland. To read more about the composer, please visit his website at: https://composergarynoland.godaddysites.com/

SCHIZOMEZZO for piano Op. 85

GREY MALIGNANT BANKS is the third in a set of ca. thirteen pieces titled ROYAL OILWORKS MUSIC by Gary Lloyd Noland. To read more about the composer, please visit his website at: https://composergarynoland.godaddysites.com/

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.

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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

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 musical portrait of my old friend, the composer and conductor Michael Rosenzweig (born 1951), is a delicately sculpted, multi-layered comprovisation. At the time of this writing I have completed musical portraits of the novelist, essayist and poet Alexander Theroux (Gary-noland – Portrait-of-novelist-essayist-poet-alexander-theroux-for-piano) and playwright David Hirson (Gary-noland – Musical-portrait-of-playwright-david-hirson). I am planning on painting more musical portraits of various artists, writers, and musicians who emanate powerfully luminous auras in their work. When time permits.…

MUSICAL PORTRAIT OF COMPOSER/CONDUCTOR MICHAEL ROSENZWEIG

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

MUSICAL PORTRAIT OF COMPOSER/CONDUCTOR MICHAEL ROSENZWEIG

Gary Lloyd Noland, composer