IGNITION WAVE and other works by composer GARY LLOYD NOLAND. For more information on the composer, please visit his website at: garynolandcomposer.com

IGNITION WAVE

Belgian/Israeli pianist Nadia Weintraub performs Two-Part Invention in D Minor Op. 70 by Gary Lloyd Noland. For more information on the composer, please visit his website at: https://composergarynoland.godaddysites.com/

TWO-PART INVENTION IN D MINOR for piano Op. 70

The PIMPLETON PROCRASTURBATION ENSEMBLE performs NYMPHONYMANIACAL MINX ROLLICK by GARY LLOYD NOLAND. For more information on the composer, please visit his website at: garynolandcomposer.com

NYMPHONYMANIACAL MINX ROLLICK

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)

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)

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 (2022)

The PIMPLETON PROCRASTURBATION ENSEMBLE performs UNBEARDED AVATAR-GOYLES (Op. 131, No. 5) by GARY LLOYD NOLAND. For more information on the composer, please visit his website at: garynolandcomposer.com

UNBEARDED AVATAR-GOYLES (Op. 131, No. 5)

The PIMPLETON PROCRASTURBATION ENSEMBLE performs OPIUM DREAM (Op. 131, No. 6) by GARY LLOYD NOLAND. For more information on the composer, please visit his website at: garynolandcomposer.com

OPIUM DREAM (Op. 131, No. 6)

The PIMPLETON PROCRASTURBATION ENSEMBLE performs IGNITION WAVE (Op. 131, No. 9) by GARY LLOYD NOLAND. For more information on the composer, please visit his website at: garynolandcomposer.com

IGNITION WAVE (Op. 131, No. 9)

The PIMPLETON PROCRASTURBATION ENSEMBLE performs DANCE OF THE DEATH LOVERS (Op. 131, No. 7) by GARY LLOYD NOLAND. For more information on the composer, please visit his website at: garynolandcomposer.com

DANCE OF THE DEATH LOVERS (Op. 131, No. 7)

The PIMPLETON PROCRASTURBATION ENSEMBLE performs THE NEIGHBORS SEEM NICE (Op. 131, No. 2) by GARY LLOYD NOLAND—dedicated to David Denniston. For more information on the composer, please visit his website at: garynolandcomposer.com

THE NEIGHBORS SEEM NICE (Op. 131, No. 2)

The PIMPLETON PROCRASTURBATION ENSEMBLE performs CYANIDE SAYONARA (Op. 134, No. 6) by GARY LLOYD NOLAND. For more information on the composer, please visit his website at: garynolandcomposer.com

CYANIDE SAYONARA (Op. 134, No. 6)

The PIMPLETON PROCRASTURBATION ENSEMBLE performs INADVERTING VOYEURISMS (Op. 131, No. 3) by GARY LLOYD NOLAND. For more information on the composer, please visit his website at: garynolandcomposer.com

INADVERTING VOYEURISMS (Op. 131, No. 3)

The PIMPLETON PROCRASTURBATION ENSEMBLE performs IN THE THROES OF JAZZ SPAZZ PIZZAZZ by GARY LLOYD NOLAND (August 7th, 2022). For more information on the composer, please visit his website at: garynolandcomposer .com

IN THE THROES OF JAZZ SPAZZ PIZZAZZ

Composer GARY LLOYD NOLAND performs his FATA MORGANA for piano (August 13th, 2022)Op. 131, No. 1, dedicated to his friend Ernesto Ferreri. For more information on the composer, please visit his website at: garynolandcomposer.com

FATA MORGANA for piano (for Ernesto Ferreri), Op. 131, No. 1

Gary Lloyd Noland performs OLD BOSTON for piano from his COVIDITTIES Op. 116. For more information on composer Gary Lloyd Noland, please visit his website at: https://composergarynoland.godaddysites.com/

OLD BOSTON for piano

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

The score of GRANDE RAG BRILLANTE for piano Op. 15 (1979, revised 1989)is now available for purchase in Noland's COLLECTED PIANO WORKS: Volume 2, which is available from Amazon at the following link: https://www.amazon.com/Collected-Piano-Works-Lloyd-Noland/dp/1732302391/ref=sr_1_1?dchild=1&keywords=collected+piano+works+volume+2&qid=1632858000&sr=8-1,  This piece is acknowledged in Nicolas Slonimsky's MUSIC SINCE 1900, was premiered on KPFA (Pacifica) Radio on October 4th, 1991 in celebration of the historic inauguration of its (then) brand new facility in Berkeley, California.

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GRANDE RAG BRILLANTE for piano Op. 15

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

IGNITION WAVE

Gary Lloyd Noland, composer