MUMBO GUMBO for piano Op. 71, No. 1 and other works by composer GARY LLOYD NOLAND

Gary Lloyd Noland performs his GEBET FÜR DEN FRIEDEN for piano (August 9th, 2024). For more information on the composer, please visit his website at: garynolandcomposer.com

GEBET FÜR DEN FRIEDEN for piano

The Pimpleton Procrasturbation Ensemble performs: PARABLE OF THE RASPBERRY SAVER: A CAUTIONARY WALTZ by Gary Lloyd Noland (August 23rd, 2024). For more information on the composer, please visit his website at: garynolandcomposer.com

PARABLE OF THE RASPBERRY SAVER: A CAUTIONARY WALTZ

Fugue In G Minor For Piano

The Pimpleton Procrasturbation THERE ARE RIGOROUS CONSEQUENCES FOR THOSE BLESSED WITH THE GIFT OF BLAB by Gary Lloyd Noland. For more information on the composer, please visit his website at: garynolandcomposer.com

THERE ARE RIGOROUS CONSEQUENCES FOR THOSE BLESSED WITH THE GIFT OF BLAB

Gary Lloyd Noland performs his REDUPLICATIVE PARAMNESIA for piano (August, 28th, 2024). For more information on the composer, please visit his website at: garynolandcomposer.com

REDUPLICATIVE PARAMNESIA for piano

QUAINT ODORS FROM EXOTIC LAND-SWELLS for guitar & harp by Gary Lloyd Noland. For more information on the composer, please visit his website at: garynolandcomposer.com

QUAINT ODORS FROM EXOTIC LAND-SWELLS

The Pimpleton Procrasturbation Ensemble performs DIPED DICTATOR GRIPES by Gary Lloyd Noland (August 29th, 2024). For more information on the composer, please visit his website at: garynolandcomposer.com

DIPED DICTATOR GRIPES

Composer Gary Lloyd Noland performs his OBTORTIONS for piano (August 29th, 2024). For more information on the composer, please visit his website at: garynolandcomposer.com

OBTORTIONS for piano

GEBET FÜR DIE LEIDENDEN by Gary Lloyd Noland (August 31st, 2024). For more information on the composer, please visit his website at: garynolandcomposer.com

GEBET FÜR DIE LEIDENDEN

The Pimpleton Procrasturbation Ensemble performs HOT-TO-TROT HE GOATS IN THE DOG MONTHS OF GLOOM by Gary Lloyd Noland (September 21st, 2024). For more information on the composer, please visit his website at: garynolandcomposer.com

HOT-TO-TROT HE GOATS IN THE DOG MONTHS OF GLOOM

This rendition of PORNOMUSIK by GARY LLOYD NOLAND was completed on August 23rd, 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)—August 23rd, 2018

INSURRECTION OF THE OFFICE SLAVES from ROYAL OILWORKS MUSIC Op. 80, No. 7. For more information on GARY LLOYD NOLAND, please visit his website at: https://composergarynoland.godaddysites.com/

INSURRECTION OF THE OFFICE SLAVES from ROYAL OILWORKS MUSIC Op. 80, No. 7

PRELUDE IN E MINOR for harpsichord Op. 34 (1979, revised 1993). For more information on composer GARY LLOYD NOLAND, please visit his website at: https://composergarynoland.godaddysites.com/

PRELUDE IN E MINOR for harpsichord Op. 34

SEVENUPMANSHIP from 24 INTERLUDES for piano Op. 71, No. 11 performed by the composer. For more information on GARY LLOYD NOLAND, please visit his website at: https://composergarynoland.godaddysites.com/

SEVENUPMANSHIP for piano Op. 71, No. 11

MUMBO GUMBO from 24 INTERLUDES for piano Op. 71, No. 1 performed by the composer. For more information on GARY LLOYD NOLAND, please visit his website at: https://composergarynoland.godaddysites.com/

MUMBO GUMBO for piano Op. 71, No. 1

MISHMASH from 24 INTERLUDES for piano Op. 71, No. 17 performed by the composer. For more information on GARY LLOYD NOLAND, please visit his website at: https://composergarynoland.godaddysites.com/

MISHMASH for piano Op. 71, No. 17

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

PORNOMUSIK Op. 48 (2000)—August 23rd, 2018

Gary Lloyd Noland, composer

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