Miscellaneous works by contemporary composers

Toccata Opus 42 composed and played by Alfred Watson

Mark Peskanov - Violin
Felix Del Tredici - Bass Trombone

Recorded by Judith Sherman at the American Academy of Arts and Letters in 2015

David Del Tredici: Farewell, for violin and bass trombone

Schubert: Arias & Overtures

Adrast, D. 137: Meine Seele, die dich liebt

Original composition by Emil Awad with poetry by Octavio Paz (used by permission).  World Premier by Karol Bennett and the Webster Trio, with Max Geissler cello, Rice University and FICA21 2017 Universidad Veracruzana. ©2017 by Emil Awad; Publishing license granted to American Composers Edition (BMI).
I- FLOR; II- DAMA; III- BIOGRAFÍA; IV- CAMPANAS EN LA NOCHE; V- ANTE LA PUERTA; VI- VISIÓN; VII- PAISAJE; VIII- ANALFABETO.
Score and parts: 
https://composers.com/composers/emil-awad/paisaje

Buy Score

Paisaje

Live at Werner Recital Hall, University of Cincinnati, USA
Timothy Ka-Ho Kwok, Piano
November 9, 2011

Sebastian Currier: Brainstorm (1994)

Sorina Aust-Ioan - piano

Recording from the conecert on 24. November 2019,
"Nuevas Tribus 1.0"
Museo Universitario Arte Contemporaneo, Mexico-City

Klaviersonate in Form einer Fantasie op. 24 mit Sorina Aust-Ioan - Klavier

Selected Piano Music

Concerto Piccolo: II (feat. Joseph Fennimore)

https://www.innova.mu/albums/paul-schoenfield/cafe-music

Paul Schoenfield: Hopfrog

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

EFFETE STINKOPATIONS is the second of "24 Postludes" for piano. Performed by composer Gary Lloyd Noland. For more information on the composer, please visit his website at: https://composergarynoland.godaddysites.com/

24 Postludes For Piano Volume 1

EFFETE STINKOPATIONS for piano Op. 72, No. 2

This is a setting of Alexander Theroux's poem THE CABARET OF THERESIENSTADT for soprano & piano by composer GARY LLOYD NOLAND.

THE CABARET OF THERESIENSTADT (setting of poem by ALEXANDER THEROUX) for soprano & piano

This is the seventh of "24 Interludes" for piano Op. 71 performed by the composer. For more information on Gary Lloyd Noland, go to his website at: https://composergarynoland.godaddysites.com/
“...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 (review of 24 Postludes Op. 72)

STUPIDSIZE IT for piano Op. 71, No. 7

SEPTET Op. 43 is conducted by Guy Tyler. Carol Robe, clarinet; Tom Bergeron, alto sax; Ellen Campbell, French horn; Tasana Nagavajara, violin; Anthony Dyer, violin; Forrest Moyer, double bass; Art Maddox, piano.
For more information on the composer go to: https://composergarynoland.godaddysit...
This piece was commissioned by the Oregon Music Teachers Association (OMTA) in conjunction with the Music Teachers National Association (MTNA) for the Oregon Composer of the Year Award in 1999. It is available for purchase, along with nine other works by the composer, on the recording "Selected Music from Venge Art" at NorthPacificMusic.com

SEPTET Op. 43

"Amerikan Bozo Dance" is the eighth movement of "String Quartet No. 2" (Op. 32, 1993) by Gary Lloyd Noland. It is the musical "punchline" of the movement that precedes it (titled "Polyester Fugue").  Performance by the Onyx String Quartet: Anna Presler, violin; Phyllis Kamrin, violin; Kurt Rohde, viola; Leighton Fong, cello. For more information on the composer, go to his website at: https://composergarynoland.godaddysites.com/

AMERIKAN BOZO DANCE from STRING QUARTET NO. 2, Op. 32, No. 8

This is the fourth piece in a set of thirteen from ROYAL OILWORKS MUSIC by composer GARY LLOYD NOLAND (2006). It is available on CD from North Pacific Music. For more information on the composer, please visit his website at: https://composergarynoland.godaddysites.com/

MY BABE'S GONE DOWN TO DO HER GLUE Op. 80, No. 4

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

This piece is the thirteenth in a set of 24 INTERLUDES for piano Op. 71, performed by the composer. For more information on Gary Lloyd Noland, please visit his website at: https://composergarynoland.godaddysites.com/

FLAGRANTE DELICTO for piano Op. 71, No. 13

The ANDANTE IN F MINOR for piano four hands (Op. 46) was composed as an homage to Franz Schubert. To read more about composer GARY LLOYD NOLAND, please visit his website at: https://composergarynoland.godaddysites.com/

ANDANTE IN F MINOR for piano four hands Op. 46

Having attended a recital of musical portraits by Virgil Thomson in Boston back in the 1980s (with the composer present, whom I briefly met), I have decided to embark upon a similar pilgrimage. This musical portrait of my old friend, the composer and conductor Michael Rosenzweig (born 1951), is a delicately sculpted, multi-layered comprovisation. At the time of this writing I have completed musical portraits of the novelist, essayist and poet Alexander Theroux (Gary-noland – Portrait-of-novelist-essayist-poet-alexander-theroux-for-piano) and playwright David Hirson (Gary-noland – Musical-portrait-of-playwright-david-hirson). I am planning on painting more musical portraits of various artists, writers, and musicians who emanate powerfully luminous auras in their work. When time permits.…

MUSICAL PORTRAIT OF COMPOSER/CONDUCTOR MICHAEL ROSENZWEIG

Uri Caine Brahms Variations

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

Miscellaneous works by contemporary composers

Gary Lloyd Noland, composer