A ONCE PROUD CIVILIZATION, a music CD album of compositions by GARY LLOYD NOLAND. 

CD album includes: DOG DUO (Op. 66) performed by SAURO BERTI, bass clarinet 
• FABIO MORBADELLI, contrabassoon;  KORNGOLDAROONIE for string trio (Op. 94) performed by CORINNE STILLWELL, violin • PAMELA RYAN, viola • DORIEN DE LEÒN, cello; CAFÉ RITARDANDO: a Comic Book Opera (Op. 89)performed by
 JACK GABEL • GUILLERMO GALINDO • GARY LLOYD NOLAND (piano) • PAUL SAFAR • JEFF WINSLOW • NANCY WOOD (voices & noise-making device);
JAMES WEBB SPACE TELESCOPE PHOTO MONTAGE (Op. 130), LIEBESSCHMERZ FUGE for piano (Op. 95, SADISINCENTIVE from ROYAL OILWORKS MUSIC (Op. 80, No. 10, and A ONCE PROUD CIVILIZATION (Op. 136)performed by THE PIMPLETON PROCRASTURBATION ENSEMBLE featuring composer GARY LLOYD NOLAND & his five anagrammatic alter egos: ORLAN DOY GLANDLY, DARNOLD OLLY YANG, LON GAYLORD DYLAN, DOLLY GRAY LANDON & ARNOLD DAY LONGLY. 

For more information on the composer, please visit his website at: garynolandcomposer.com

A ONCE PROUD CIVILIZATION

Bass Clarinetist Sauro Berti and Contrabassoonist Fabio Morbidelli perform DOG DUO, Op. 66 (arr. Sauro Berti) by Gary Lloyd Noland. For more information on the composer, please visit his website at: garynolandcomposer.com

Sauro Berti, bass clarinetist of the Teatro dell’Opera di Roma, has collaborated with the most important Italian orchestras (Teatro alla Scala, Maggio Musicale Fiorentino, RAI National Orchestra), the Royal Scottish National Orchestra, and the Sinfonia Finlandia Jyvaskyla. He has played under G.Prêtre, R.Chailly, M.W.Chung, R.Muti, W.Sawallisch, V.Gergiev, L.Maazel, P.Boulez, and Z.Mehta. He has also participated in the DVD recording of Mozart’s Serenade No. 10 “Gran Partita” under M. Muti. Berti was a soloist at the Tokyo ClarinetFest 2008, the last five ClarinetFest 2009-2013 (Porto, Austin, Los Angeles, Lincoln, Assisi), the 2nd Costa Rica Festival, the 1st and 2nd Peruvian Congreso Latinoamericanos, the 5th “Congreso de Madrid,” the Festival Guimaraes 2012, and the 3rd Guatemala Festival 2013. In 2009 he obtained his conducting diploma with D.Renzetti. He has published Venti Studi per Clarinetto Basso, Tuning for winds (Suvini Zerboni), his version of V. Bucchi’s concerto and the album Suggestions with N. Fujiya (Edipan).

Berti plays on Buffet Crampon instruments and is a Rico Artist.

Fabio Morbidelli is an orchestra musician at Teatro dell'Opera di Roma

DOG DUO (arr. Sauro Berti) for bass clarinet & contrabassoon, Op. 66

The PIMPLETON PROCRASTURBATION ENSEMBLE performs HYPNOGICIC EJACULOSIS, Op. 135, No. 1, by GARY LLOYD NOLAND. For more information on the composer, please visit his website at: garynolandcomposer.com

HYPNOGOGIC EJACULOSIS, Op. 135, No. 1

The PIMPLETON PROCRASTURBATION ENSEMBLE performs A ONCE PROUD CIVILIZATION, Op. 135, No. 4, by GARY LLOYD NOLAND. For more information on the composer, please visit his website at: garynolandcomposer.com

A ONCE PROUD CIVILIZATION, Op. 135, No. 4

The PIMPLETON PROCRASTURBATION ENSEMBLE performs INDUSTRIAL ROMANCE, Op. 135, No. 2, by GARY LLOYD NOLAND. For more information on the composer, please visit his website at: garynolandcomposer.com

INDUSTRIAL ROMANCE, Op. 135, No. 2

The PIMPLETON PROCRASTURBATION ENSEMBLE performs PAINTING THE TOWN A SICKLY CHARTREUSE, Op. 135, No. 5, by GARY LLOYD NOLAND. For more information on the composer, please visit his website at: garynolandcomposer.com

PAINTING THE TOWN A SICKLY CHARTREUSE, Op. 135, No. 5

The PIMPLETON PROCRASTURBATION ENSEMBLE performs A FESTIVE ODE TO AUTOMATED CONJUGAL FELICITY PROCESSING MACHINES, Op. 135, No. 3, by GARY LLOYD NOLAND. For more information on the composer, please visit his website at: garynolandcomposer.com

A FESTIVE ODE TO AUTOMATED CONJUGAL FELICITY PROCESSING MACHINES, Op. 135, No. 3

JAMES WEBB SPACE TELESCOPE PHOTO MONTAGE for Piano & Electronics (sans piano), Op. 130 by GARY LLOYD NOLAND. Composed for pianist Lukas Huisman. For more information on the composer, please visit his website at: garynolandcomposer.com

JAMES WEBB SPACE TELESCOPE PHOTO MONTAGE for Piano & Electronics (sans piano), Op. 130

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

CAFÉ RITARDANDO Op. 89 is a comic book opera by GARY LLOYD NOLAND. Cast:  Jack Gabel, Guillermo Galindo, Paul Safar, Jeff Winslow, Nancy Wood, and the composer.  The live performance took place at Classic Pianos, Portland, Oregon in the spring of 2007. The recording was revised and edited by the composer on February 10, 2021.

CAFÉ RITARDANDO: A COMIC BOOK OPERA Op. 89 (2007)

DISINCENTIVE from ROYAL OILWORKS MUSIC Op. 80, No. 10 (newly revised version—Feb. 14th, 2021)by GARY LLOYD NOLAND. For more information on the composer, please visit his website at:

SADISINCENTIVE from ROYAL OILWORKS MUSIC Op. 80, No. 10

LIEBESSCHMERZ FUGE was begun in 1981 and underwent revisions on and off for 28 years until it was finally completed in 2009.  When the initial sections of this piece were shared at the piano by Noland in Leon Kirchner's composition seminar at Harvard in 1984 (when he was a second-year graduate student there at the time), it was vehemently discouraged—read:  suppressed ("censored" is the more apt term).  The composer later shared it with Earl Kim (another composer on the faculty), who was quick to dismiss it as a trifling "improvisation" (which it most assuredly wasn't!).  Later, in the course of his graduate studies at Harvard, Noland came close to being kicked out of the program on account of his propensity for writing music that was considered "unfashionable" by those in the front office (it was never expressed in such terms but wasn't all that difficult for the composer to read the writing on the walls).  By sheer force of will, Noland managed to stay on in the program (by the skin of his teeth) and receive his useless doctoral degree from that insane institution.  It is said that "neo-romanticism" is in fashion nowadays.  Noland was, quite possibly, the first "neo-romantic" composer of his generation, yet he continues to remain outside the radar of today's classical music mainstream.

LIEBESSCHMERZ FUGE for piano Op. 95 (2009)

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

A ONCE PROUD CIVILIZATION

Gary Lloyd Noland, composer