The Pimpleton Procrasturbation Ensemble performs: PREACHING TO THE CLOWN CHOIR: AN INAUGURATION OF IMPENETRABLE DUNCES by Gary Lloyd Noland (December 29th, 2024). For more information on the composer, please visit his website at: garynolandcomposer.com

PREACHING TO THE CLOWN CHOIR: AN INAUGURATION OF IMPENETRABLE DUNCES

The Pimpleton Procrasturbation Ensemble performs HOT-TO-TROT HE GOATS IN THE DOG MONTHS OF GLOOM by Gary Lloyd Noland (September 21st, 2024). For more information on the composer, please visit his website at: garynolandcomposer.com

HOT-TO-TROT HE GOATS IN THE DOG MONTHS OF GLOOM

GEBET FÜR DIE ERDE by Gary Lloyd Noland (September 22nd, 2024). For more information on the composer, please visit his website at: garynolandcomposer.com

GEBET FÜR DIE ERDE

The Pimpleton Procrasturbation Ensemble performs the soundtrack to THE AT-YOUR-BECK FELICITY CONVEYOR, a new novel by Dolly Gray Landon (aka Gary Lloyd Noland), Op. 154 (September 24th, 2024). This book is available from many major book retailers and may be ordered from Amazon at: https://a.co/d/31r81Gp 

Description:

A beautiful entitlement princess—designated heiress to a war-profiteering oil & arms conglomerate—makes the tragic mistake of stealing love toys from a grocery boutique owned by the Dreadmiller tribe: the very poster children of sweat & grit. She learns the hard way that the Dreadmillers are not the kind of people you would ever want to mess with.

Publication date is set for 27 October, 2024

Soundtrack to Dolly Gray Landon's Novel THE AT-YOUR-BECK FELICITY CONVEYOR

Soprano Hayley Boggs, Tenor Jonathan Matthews, and pianist Maryna Buksha perform "The Vision," the first of THREE HERRICK SONGS by Gary Lloyd Noland, Op. 97, No. 1 (2010). The poems set are by Robert Herrick. For more information on the composer,

THE VISION for soprano, tenor, and piano (Op. 97, No. 1), poem by Robert Herrick

Soprano Hayley Boggs, tenor Jonathan Matthews, and pianist Maryna Buksha perform "Show Me Thy Feet," the second of THREE HERRICK SONGS by Gary Lloyd Noland, Op. 97, No. 2 (2010). Poem by Robert Herrick. For more information on the composer, please visit his website at: garynolandcomposer.com

SHOW ME THY FEET for soprano, tenor & piano, Op. 97, No. 2; poem by Robert Herrick

The Pimpleton Procrasturbation Ensemble performs A LITTLE NURSERY MUSIC by Gary Lloyd Noland (October 2nd, 2024). For more information on the composer, please visit his website at: garynolandcomposer.com

A LITTLE NURSERY MUSIC

Soprano Hayley Boggs, Tenor Jonathan Matthews, and pianist Maryna Buksha perform WHEN I THY PARTS RUN O'ER. Music by Gary Lloyd Noland (Op. 97, No. 3); poem by Robert Herrick. For more information on the composer, please visit his website at: garynolandcomposer.com

WHEN I THY PARTS RUN O'ER for soprano, tenor, and piano, Op. 97, No. 3; poem by Robert Herrick

The Pimpleton Procrasturbation Ensemble performs AWARDS, BADGES, AND CONTRIBUTION POINTS by Gary Lloyd Noland (November 9th, 2024). For more information on the composer, please visit his website at: AWARDS, BADGES, AND CONTRIBUTION POINTS

AWARDS, BADGES, AND CONTRIBUTION POINTS

The Pimpleton Procrasturbation Ensemble performs COCKEYED YULETIDE by Gary Lloyd Noland (December 14th, 2024). Happy Holidays!

COCKEYED YULETIDE

The Pimpleton Procrasturbtion Ensemble performs ALCOHOLIDAY GASSERS by Gary Lloyd Noland (December 21st, 2024). HAPPY HOLIDAYS! For more information on the composer, please visit his website at: garynolandcomposer.com

ALCOHOLIDAY GASSERS

The Pimpleton Procrasturbation Ensemble performs PREACHING TO THE CLOWN CHOIR: AN INAUGURATION OF IMPENETRABLE DUNCES by Gary Lloyd Noland. For more information on the composer, please visit his website.

The Pimpleton Procrasturbation Ensemble performs HOLE-IN-THE-GROUND FIGMENTS by Gary Lloyd Noland (January 3rd, 2025). For more information on the composer, please visit his website at: garynolandcomposer.com

HOLE-IN-THE-GROUND FIGMENTS

Composer Gary Lloyd Noland performs his GATEAU for piano. For more information on the composer, please visit his website at: garynolandcomposer.com

GATEAU for piano

VISPROINTIAMO NO. 4 for piano, composed and performed by Gary Lloyd Noland (June 8th, 2025). For more information on the composer, please visit his wevbsite at: nolandgarycomposer.com

VISPROINTIAMO NO. 4 for piano

VISPROINTIAMO No. 5 for piano, composed and performed by Gary Lloyd Noland. For more information on the composer, please visit his website at: garynolandcomposer.com

VISPROINTIAMO No. 5 for piano

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

PREACHING TO THE CLOWN CHOIR: AN INAUGURATION OF IMPENETRABLE DUNCES

Gary Lloyd Noland, composer