This piece is one of a set of composer Gary Lloyd Noland's  COVIDITTIES Op. 116.

NOSTALETHARGIC RECOMEMBRANCES

Old Berkeley for piano Op. 116, No. 13 by Gary Lloyd Noland

Miscellaneous works by contemporary composers

I DARE NOT ASK A KISS for soprano & piano Op. 7

UNFORSAKEN OBSESSIONS for piano

The PIMPLETON PROCRASTURBATION ENSEMBLE performs ENTROPIC DOMAIN OF APATHIZING BARNACLES AND THEIR IDEOLOGICAL BRETHREN (Op. 133, No. 6) by GARY LLOYD NOLAND. For more information on the composer, please visit his website at: garynolandcomposer.com

ENTROPIC DOMAIN OF APATHIZING BARNACLES AND THEIR IDEOLOGICAL BRETHREN (Op. 133, No. 6)

The PIMPLETON PROCRASTURBATION ENSEMBLE performs THE NATIVES ARE GROWING PSEUDOCIDAL by GARY LLOYD NOLAND. For more information on the composer, please visit his website at: garynolandcomposer.com

THE NATIVES ARE GROWING PSEUDOCIDAL

The PIMPLETON PROCRASTURBATION ENSEMBLE performs BLINDED MARE'S NEST OMELETTE (Op. 135, No. 1) by GARY LLOYD NOLAND. For more information on the composer, please visit his website at: garynolandcomposer.com

BLINDED MARE'S NEST OMELETTE (Op. 135, No. 1)

My FUNFARE FOR SANITY (Op. 129, July 1st, 2022) for brass quintet (two trumpets, horn, trombone). I started composing this piece in the early days of June, 2022 in anticipation of submitting it for consideration by a committee for a possible performance on a Cascadia Composers concert by a local brass quintet. After several days of intensive work in an effort to meet the deadline (which was about a week thereafter) I learned that I was ineligible to submit it on account of having already had a piece of mine performed on the previous Cascadia Composers concert a month earlier, which was just as well, since this quintet still needed work. I would have called it "FANFARE FOR SANITY" but didn't like the assonance in its title, thus: "FUNFARE," which is, perhaps, more evocative of its festive mood. I could be wrong, but assume that where one encounters "sanity," one also tends to encounter peace, harmony, and justice—all conditions of which are sorely needed in these troubled times. Prithee listen and enjoy!. Responses from listeners are more than welcomed. For more information on the composer, please visit his website at: garynolandcomposer.com

FUNFARE FOR SANITY for Brass Quintet (Op. 129)

The PIMPLETON PROCRASTURBATION ENSEMBLE performs ALL'S WELL THAT ENDS (Op. 131, No. 4) by GARY LLOYD NOLAND. For more information on the composer, please visit his website at: garynolandcomposer.com

ALL'S WELL THAT ENDS (Op. 131, No. 4)

GARY LLOYD NOLAND performs his UNFORSAKEN OBSESSIONS for piano (Op. 131, No. 8). For more information on the composer, please visit his website at: garynolandcomposer.com

UNFORSAKEN  OBSESSIONS for piano (Op. 131, No. 8)

Original composition by Emil Awad with poetry by Octavio Paz (used by permission).  World Premier by Karol Bennett and the Webster Trio, with Max Geissler cello, Rice University and FICA21 2017 Universidad Veracruzana. ©2017 by Emil Awad; Publishing license granted to American Composers Edition (BMI).
I- FLOR; II- DAMA; III- BIOGRAFÍA; IV- CAMPANAS EN LA NOCHE; V- ANTE LA PUERTA; VI- VISIÓN; VII- PAISAJE; VIII- ANALFABETO.
Score and parts: 
https://composers.com/composers/emil-awad/paisaje

Buy Score

Paisaje

Live at Werner Recital Hall, University of Cincinnati, USA
Timothy Ka-Ho Kwok, Piano
November 9, 2011

Sebastian Currier: Brainstorm (1994)

Sorina Aust-Ioan - piano

Recording from the conecert on 24. November 2019,
"Nuevas Tribus 1.0"
Museo Universitario Arte Contemporaneo, Mexico-City

Klaviersonate in Form einer Fantasie op. 24 mit Sorina Aust-Ioan - Klavier

https://www.innova.mu/albums/paul-schoenfield/cafe-music

Paul Schoenfield: Hopfrog

For more information on composer GARY LLOYD NOLAND go to his website at: https://composergarynoland.godaddysites.com/

NOSTALETHARGIC RECOMEMBRANCES (Aug. 18, 2020)

This piece is the thirteenth in a set of "24 Postludes" for piano. Performed by Gary Lloyd Noland. For more information on the composer, go to his website at: https://composergarynoland.godaddysites.com/

Gary Lloyd Noland: Bead - Eyed Bellygods Op. 72, No. 13

INVASION OF THE STORMTRUMPERS represents the terrorization of a peaceful municipality by the apostles of oppression.
For more information on composer Gary Lloyd Noland, go to his website at: http://composergarynoland.godaddysites.com/

INVASION OF THE STORMTRUMPERS from 20 COVIDITTIES Op. 116, No. 12

CORONAGOGO HIPSTER SLOB CHIC portrays those entitlement kleptocrats who dwindle away their precious time making moronic fashion statements vis-à-vis this unforgiving pestilence.
For more information on composer Gary Lloyd Noland, go to his website at: https://composergarynoland.godaddysites.com/

CORONAGOGO HIPSTER SLOB CHIC from 20 COVIDITTIES Op. 116, No. 10

GARY LLOYD NOLAND: "OLD BERKELEY" for piano, performed by the composer. OLD BERKELEY was composed in memory of my piano teacher Goodwin Sammel (1925-2020), whom I thought of as an immutable fixture in my hometown. Whenever visiting Berkeley from Portland I felt secure knowing of the spirit of Goodwin's formidable musical presence in his home on Francisco Street, just west of Shattuck Avenue. Berkeley will never feel quite the same without him. The global landscape has transformed significantly since Goodwin’s departure on January 16th, 2020. Due to the relentless propagation of the Tr*mp virus, it may no longer be possible to revisit the town of my formative years. This piece expresses my feeling of being exiled in conjunction with a wistful longing for a return to an era that has all but vanished in a heartbeat. Despite many historically negative connotations in reference to the emotional condition of nostalgia, I confess to it here without shame.

OLD BERKELEY for piano from 20 COVIDITTIES Op. 116, No. 13

AVALANCHINE JINXES is the seventh in a set of NINE MUSICAL JUNK SCULPTURES Op. 102. To read more about composer GARY LLOYD NOLAND, please visit his website at: composergarynoland.godaddysites.com/

AVALANCHINE JINXES  from  MUSICAL JUNK SCULPTURES  Op. 102, No. 7

TWIGGY LITTLE WEENY-BOPPER BENDERS is the sixth in a set of nine MUSICAL JUNK SCULPTURES Op. 102. To read more about composer GARY LLOYD NOLAND, please visit his website at: composergarynoland.godaddysites.com/

TWIGGY LITTLE WEENY-BOPPER BENDERS from  MUSICAL JUNK SCULPTURES  Op. 102, No. 5

CREATURE DISCOMFORTS is the sixth in a set of nine MUSICAL JUNK SCULPTURES Op. 102. To read more about composer GARY LLOYD NOLAND, please visit his website at: composergarynoland.godaddysites.com/

CREATURE DISCOMFORTS from  MUSICAL JUNK SCULPTURES  Op. 102, No. 3

ZOMBO QUACKO is the ninth in a set of NINE MUSICAL JUNK SCULPTURES Op. 102. To read more about composer GARY LLOYD NOLAND, please visit his website at: composergarynoland.godaddysites.com/

ZOMBO QUACKO from NINE MUSICAL JUNK SCULPTURES Op. 102, No. 9

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

Soprano Nancy Wood and pianist Paul Safar perform I DARE NOT ASK A KISS (Op. 7) by Gary Lloyd Noland. Poem is "To Electra" by Robert Herrick (1591-1674).  This song may be performed with either piano or harpsichord accompaniment. For more information on the composer, please visit his website at: https://composergarynoland.godaddysites.com/

I DARE NOT ASK A KISS for soprano & piano (Op. 7)

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

OLD BERKELEY for piano from 20 COVIDITTIES Op. 116, No. 13

Gary Lloyd Noland, composer