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

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

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

Pianist Randall Hodgkinson performs RUSSELL STREET RAG Op. 5 by GARY LLOYD NOLAND. Composed when I was seventeen (1974), this piece is named after one of the streets I grew up on in Berkeley. At the time I wrote this piece the renowned historian Peter Robert Lamont Brown (who is regarded as the inventor of the field of Late Antiquity) was staying in the adjacent room of our house. He was out the door early every morning to the library and returned late at night after doing full days of research in his areas of expertise. I imagine that my banging this piece out on the piano (which was positioned against the wall adjacent to his room) must have driven him nuts whenever he happened to be in his room. During the year or so he stayed with us, I was impressed by the fact that he had a command of fourteen languages. I just read now that, over the years, he has picked up another twelve languages, bringing the total to 26 (!). I have rarely met such a dedicated scholar. Unbeknownst to Professor Brown, my having had the opportunity to witness, as an impressionable teenager, his daily routines taught me to adopt (or, at very least, to attempt to adopt) a similar work ethic in my composing, though, what with the MacArthur Fellowship and all the other accolades Brown has received over the years, I imagine his life is considerably less hindered by the kinds of distractions occasioned by a wholesale lack of interest in, and lack of support for, those dedicated to the art of music-making.

RUSSELL STREET RAG for piano Op. 5

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

RUSSELL STREET RAG for piano Op. 5

Gary Lloyd Noland, composer

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