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

The Pimpleton Procrasturbation Ensemble performs AN UNGAINLY GAGGLE OF ALTOGETHERY GALOOTS by Gary Lloyd Noland (February 4th, 2023). For more information on the composer, please visit his website at: garynolandcomposer.com

AN UNGAINLY GAGGLE OF ALTOGETHERY GALOOTS

Composer/pianist Gary Lloyd Noland performs his FIVE PIECES FOR PIANO VOLUME 2, Op. 41 (1998). This is the world premiere performance of this work that took place on a Seventh Species concert at United Lutheran Church in Eugene, Oregon on October 27th, 1998. For more information on the composer, please visit his website at: garynolandcomposer.com

FIVE PIECES FOR PIANO VOLUME 2, Op. 41 (1998)

Soprano Deborah Harrington and harpsichordist Michael Dewart perform I DARE NOT ASK A KISS (setting of Robert Herrick's poem "To Electra"), Op. 7, by Gary Lloyd Noland. For more information on the composer, please visit his website at: garynolandcomposer.com

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

"The road to hell is paved with unperformed string quartets"—quote attributed to Frederic Rzewski. This ancient MIDI piano realization of my STRING QUARTET NO. 1, Op. 12 was recently transcribed digitally (in February, 2023) from an ancient cassette recording (dating back anywhere from the late 1980s to the early 1990s). The score of this quartet (my Harvard dissertation) is almost 200-pages in length and has been sitting on a shelf for almost 34 years (at the time of this writing). To this very day I still consider it one of my most important works (if "important" is the right word for it). The first movement was once read by the Arditti String Quartet back in ca. 1990 or thereabouts. Unfortunately, the string sounds using MIDI back in the late 1980s justified the use of the digital piano sound as a means of representing it, as the MIDI string sounds were absolutely wretched in those days. The MIDI piano sound, though far from great, enables the notes to be heard with some semblance of clarity. Naturally, the tempo in a live performance by a breathing string quartet would end up being considerably slower than this MIDI realization would lead one to imagine, extending the work into the two-hour+ zone. The quartet is in four movements: 1. Introduction, 2. Adagio, 3. Waltz, 4. Fugue. The parts only exist for the first movement. I have considered re-copying the score so that all the parts can be easily extracted. Moreover, some edits and revisions to the original score might be necessary. It is a daunting project that would take considerable time away from the creation of new works. What might be best for me would be to apply for a grant (if there is one) that would enable me to hire a copyist who would use a modern notation software program (this score was written using Professional Composer back in 1989).

STRING QUARTET NO. 1, Op. 12 (1989, ancient MIDI piano realization)

Gary Lloyd Noland performs hsi DELUSIONS OF GLANDEUR for piano, Op. 71, No. 24 (2003). For more information on the composer, please visit his website at: garynolandcomposer.com

DELUSIONS OF GLANDEUR for piano, Op. 71, No. 24

Violinist Reiko Nishioka and pianist Gary Lloyd Noland perform INTERMEZZO, Op. 18, by Gary Lloyd Noland (1991). This is the world premiere performance that took place on a Seventh Species concert at Mills College on October 26th, 1991.

INTERMEZZO for violin & piano, Op. 18 (Reiko Nishioka, violin; Gary Lloyd Noland, piano)

UNCATALOGUED PITCH TRANSPOSED PIANO IMPROV #2 by Gary Lloyd Noland (1984). For more information on the composer, please visit his website at: garynolandcomposer.com

UNCATALOGUED PITCH TRANSPOSED PIANO IMPROV #2 (1984)

Soprano Deborah Harrington and pianist Gary Lloyd Noland perform Noland's FOUR HEINE LIEDER, Op. 19, Nos. 1 & 2. This performance took place at the Boston Conservatory on April 7th, 1983. 1) Aus meinen Tränen Sprießen, 2) Im wunderschönen Monat Mai. Coincidentally, the composer was surprised to read in Alma Mahler's biography of her husband, Gustav Mahler, that he had set the same two poems in his youth, both songs of which have been lost. These are the first two of the poems that were set by Robert Schumann in his famous song cycle Dichterliebe. For more information on composer Gary Lloyd Noland, please visit his website at: garynolandocomposer.com

FOUR HEINE LIEDER, Op. 19, Nos. 1 & 2 (1981-83)

Pianist Randall Hodgkinson performs SIX AND A HALF PIANO PIECES, Op. 8, by Gary Lloyd Noland. Brief cameo appearance by the composer at the end of #6 (Proverb). Titles of pieces are: 1) Allegro, 2) Kirchnerism, 3) Sinfonia, 4)Allemande, 5) Canon, 6) Proverb, 6 1/2)Aaeeetta Garrlicca!!! This set of pieces was recorded at the home of Paul Matisse (grandson of Henri Matisse and stepson of Marcel Duchamp) in Groton, MA, just outside of Boston in November, 1987.

SIX AND A HALF PIANO PIECES, Op. 8 (1986)

Composer/pianist Gary Lloyd Noland performs his SIX LURID ALBUMBLATTS for a broadcast on KPFA (Pacifica) Radio  in Berkeley, California (1992). The performance is extemporized from a set of six graphic scores.

Here's what I found listed:(Pacifica) 10. radiOM.org - Morning Concert Piano: No Hands [5.078% Popularity: 0.00000]
Morning Concert: Piano: No Hands Listen Item Type: Sound Recording Duration: 119 min Event Type: Interview and Music Program Origin: KPFA In a recording made in 1992, Charles Amirkhanian hosts a program featuring music played on the Disklavier, a sort of modern player piano. It is a devise that can be attached to a grand piano so as to enable it to record, playback, and even manipulate music played on its keys. In the first half of the program, Charles is joined in the studio by Gary Noland, who has composed a number of pieces for the Disklavier. In the second half of the program, Charles conducts an impromptu interview with Richard Dunn of the BBC in which they discuss the BBC's World Service and the implications of digital radio broadcasting. Part 1 of 2: Musical Selections: Study No. 3A / Conlon Nancarrow -- Six Lurid Albumblatts, for 1-1000 players in pictographic notation Op. 14 / Gary Noland -- Grande Rag Brillante, Op. 15 (1978-79, rev. 1989) / Gary Noland -- Étude No. 2, for piano (1985) / György Lige...

SIX LURID ALBUMBLATTS, Op. 14, KPFA (Pacifica) Radio Broadcast (1992)

Narrator Ernest Landauer and pianist Gary Lloyd Noland perform Noland's TEATIME IN PURGATORY, Op. 16, Part One. This performance took place at Room 125 Morrison Hall at the U.C. Berkeley Music Department in February, 1990. Composer John Harbison was having a work performed at Hertz Hall (adjacent to Morrison Hall) that same evening, which prevented a large turnout. The text, written by Gary Lloyd Noland, was his first serious literary undertaking. It has undergone numerous edits and revisions since the time of this performance. TEATIME IN PURGATORY was originally premiered by narrator Dan Banks and the composer on a Special Harvard Group for New Music concert at Paine Hall, Harvard University on November 2nd, 1986. It is the composer/author's intention to finalize the text of Teatime in Purgatory for publication, if he can find the time (read: funding) to do so. Ernest Landauer, who was recommended to Noland by John Swackhamer (one of Noland's composition instructors at U.C. Berkeley when he was an undergraduate there in the late 1970s), was, according to the composer, a joy to work with. Notwithstanding many problems with the text and blunders in the performance, the spirit of the work is brilliantly conveyed. It is an electrifying performance! For more information on Gary Lloyd Noland, please visit his website at: garynolandcomposer.com

TEATIME IN PURGATORY for narrator & piano improviser, Op. 16, Part One

Narrator Ernest Landauer and pianist Gary Lloyd Noland perform Noland's TEATIME IN PURGATORY, Op. 16, Part Three. This performance took place at Room 125 Morrison Hall at the U.C. Berkeley Music Department in February, 1990. Composer John Harbison was having a work performed at Hertz Hall (adjacent to Morrison Hall) the same evening, which prevented a large turnout for Noland's performance. The text, written by Gary Lloyd Noland, was his first serious literary undertaking. It has undergone numerous edits and revisions since the time of this particular performance. TEATIME IN PURGATORY was originally premiered by narrator Dan Banks and the composer on a Special Harvard Group for New Music concert at Paine Hall, Harvard University on November 2nd, 1986. It is the composer/author's intention to finalize the text of Teatime in Purgatory for publication, if he can ever find the time (read: funding) to do so. Ernest Landauer, who was recommended to Noland by John Swackhamer (one of Noland's composition instructors at U.C. Berkeley when he was an undergraduate there in the late 1970s)as a gifted narrator, was, according to the composer, an absolute delight to work with. Notwithstanding many problems with the text and blunders in this performance, the spirit of the work is brilliantly conveyed. Truth be told, it is an electrifying performance. Unfortunately, the transcription of Part Two from cassette recording to digital media was found to be distorted. This problem will, it is hoped, be eventually resolved, so that Part Two can be presented here on SoundCloud. There may be another part of this historic performance elsewhere.

TEATIME IN PURGATORY for narrator & piano improviser, Op. 16, Part Three (1990)

The Pimpleton Procrasturbation Ensemble performs DIE FLEDERMAUS PSYCHO FLIP, Op. 142, No. 11, by Gary Lloyd Noland (1984, revised 2023). For more information on the composer, please visit his website at: garynolandcomposer.com

DIE FLEDERMAUS PSYCHO FLIP, Op. 142, No. 11

The Pimpleton Procrasturbation Ensemble performs THE GREAT PACIFIC GARBAGE VORTEX TERRESTRIAL ANTHEM, Op. 142, No. 9 by Gary Lloyd Noland (March 5th, 2023). To read more about the composer, please visit his website at: garynolandcomposer.com

THE GREAT PACIFIC GARBAGE VORTEX TERRESTRIAL ANTHEM, Op. 142, No. 9

The Pimpleton Procrasturbation Ensemble performs A FLEETING KALEIDOSCOPIC PHANTASMAGORY ON THE OSTINATO FIGURE FROM LIGETI'S FANFARES ÉTUDE (NO. 4) by Gary Lloyd Noland (March 7th, 2023). For more information on the composer, please visit his website at: garynolandcomposer.com

A FLEETING KALEIDOSCOPIC PHANTASMAGORY ON THE OSTINATO FIGURE FROM LIGETI'S FANFARES ÉTUDE NO. 4

The Pimpleton Procrasturbation Ensemble performs CONSTELLATION OF NERVOUS SPASMS, Op. 142, No. 7, by Gary Lloyd Noland (March 8th, 2023). For more information on the composer, please visit his website at: garynolandcomposer.com

CONSTELLATION OF NERVOUS SPASMS, Op. 142, No. 7

Gary Lloyd Noland, Arnold Day Longly, Lon Gaylord Dylan, Dolly Gray Landon, Orlan Doy Glandly, and Darnold Olly Yang perform 53-FINGER ÉTUDE for piano, Op. 143, No. 2, by Gary Lloyd Noland (March 9th, 2023). For more information on the composer, please visit his website at: garynolandcomposer.com

53-FINGER ÉTUDE for piano, Op. 143, No. 2

The Pimpleton Procrasturbation Ensemble performs CRYBABY CRUSHERS, Op. 142, No. 1, by Gary Lloyd Noland (March 13th, 2023). For more information on the composer, please visit his website at: garynolandcomposer.com

CRYBABY CRUSHERS, Op. 142, No. 1

Composer Gary Lloyd Noland performs his BYGONE FANCIES for piano, Op. 142, No. 2 (March 16th, 2023). For more information on the composer, please visit his website at: garynolandcomposer.com

BYGONE FANCIES for piano, Op. 142, No. 2

The Pimpleton Procrasturbation Ensemble performs STURM UND DRANGULAR POINTS OF DISSENT, Op. 142, No. 3, by Gary Lloyd Noland (March 17th, 2023). For more information on the composer, please visit his website at: garynolandcomposer.com

STURM UND DRANGULAR POINTS OF DISSENT, Op. 142, No. 3

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

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

Gary Lloyd Noland, composer