SEVENUPMANSHIP from 24 INTERLUDES for piano Op. 71, No. 11 performed by the composer. For more information on GARY LLOYD NOLAND, please visit his website at: https://composergarynoland.godaddysites.com/

SEVENUPMANSHIP for piano Op. 71, No. 11

Francisco Merino Morales nació en la localidad de Villabilla (Madrid), en 1963.

Licenciado en derecho por la Universidad de Alcalá de Henares (Madrid), realizó sus estudios musicales de piano y guitarra.

En la actualidad comparte su actividad jurídica con la literaria y musical.
Ha publicado diversos libros (novela, poesía, relatos, traducciones) y ha sido premiado en distintos concursos literarios.

Desde un punto de vista musical, tras su paso en la década de los ochenta por el mundo del pop y del rock, Francisco Merino Morales ha compuesto distintas obras para diversas agrupaciones instrumentales de cámara y diversos solistas, habiendo sido estrenadas obras suyas en España, Italia, Holanda, Chile, Estados Unidos y Argentina.

Su estilo compositivo es muy ecléctico, teniendo en su haber obras tonales, atonales y electroacústicas, aunque lo más peculiar de su estilo es el uso de una libertad total en los materiales y la búsqueda de un lenguaje con una reformulación modal propia en un contexto tonal.

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

#©OMPOSe®#  Orchestration and arranger
....CV shall be updated soon..


…born in Požarevac (1969)… …completed music education in the class of Professor Olga Popov…. …among international courses participate at… ….1995,17th Summer Course for Young Composers organized by ISCM (International Society for Contemporary Music, Polish Section). The event was run by Martin Bresnik (USA), Silvano Bussotti (Italy), Daryl Runswick (UK), Sigune von Osten (Germany), Claude Lefevre (France), and Witold Szalonek (Poland). ….participant of the Belgrade International Forum of Composers …Music Academies’ meeting in Montenegro… …1996, participant of the International Summer Course for Young Composers in Czech Republic organized by their ISCM Section. This one was run by Sofia Gubaidulina (Russia – Germany), Viktor Suslin (Germany) and Marek Kopelent (Czech Republic)… ….. “Blue” - for accordion, harp and percussion instruments was performed at the Belgrade International Forum of Composers…. same year 1996, he started working at Jeunesses Musicales of Serbia office as an Editor & Organizer of music events… …1997 was appointed Secretary General of Jeunesses Musicales Yugoslavia…. ….graduated from the Belgrade Faculty of Music, Department for Composition and orchestration, in the class of Professor Vlastimir Trajković. ….Molto espressivo for full orchestra, was composed for the final exam…. … has been performed and recorded by the Belgrade Radio and TV Orchestra conducted by Biljana Radovanovic… …Molto espressivo was broadcasted on National TV network many times…. …1998. Participant of the Academies’ meeting in Belgrade (presentig Molto espressivo for full orchestra…. …1998. Participant of the Seminar for International Youth Leaders (July 02-05.Athens, Greece) …. Participant of the 6th International Academy for New Composition and Audio-Art (August 18-31. Schwaz / Tirol – AUSTRIA) –granted with a scholarship by the society ”KulturKontakt Austria” *se picture…. ….1999. Participant of the International Summer course in Stuttgart TEILNAHMEBESTATIGUNG Marek Choloniewski (Krak6w) Komposition computermusik (Intera aktive Systeme, I ive- Elektronik) Komposition Computerm usik (Animation, Detphi) algorithmische Komposition (Smalltalk) Siegfried Eipper (stuttgart) nnalyse Neue Musilg Komposition Matthias Hermann (Stuttgaft) nnatyse Neue Musik, uusiilrwissenschaft Igor Stepanow Studio- und produktionstechnik Manuel Hidalgo (Stuttgaft) Maciej Walczak (Stuttgart lL6dr) Georg Wiitzer (Stuttga rt)Jan Choloniewski (Krak6w) Ulrike Stortz (Stuttgaft) Werner Taube (Stuttgart) Bernhard SchleiB (Stuttgart) Jiirgen Kruse (Stuttgart) Anja Fiisti (Stuttgaft) Jan Pilch (Krak6w) Com puterkurs (Internet, Homepages)……Violine Violoncello Klarinette Klavier Schlagzeug Schlagzeug…. ….2000. REX’s festival for short video forms in Belgrade ….2001 International Forum of composers, audio-video art project PASSAGES in Belgrade …. END OF PART I….. Working experience 1996-2012 had I full time job at Jeunesses Musicales of Serbia and Jeunesses Musicales of Belgrade - 1996 start to work as an Editor/Organizer - from 1997-2012 worked as Editor, Editor for International Programs and Projects ( major projects shall be updated ) , Assistant of Editor in Chief, Editor in Chief Jeunesses Musicales od Serbia, Editor in Chief Jeunesses Musicales of Belgrade, Director of Jeunesses Musicales of Serbia and Jeunesses Musicales of Belgrade, Director of International Jeunesses Musicales Competition Belgrade ( -until 2012)..... (1997) appointed Secretary General Jeunesses Musicales of Yugoslavia(ex Yugoslavia-Serbia and Montenegro) (.....) Jeunesses Musicales Belgrade Secretary (.....) Secretary General Jeunesses Musicales Serbia (.....) Secretary General Jeunesses Musicales Belgrade SOON WILL UPDATED AND ...from 2016 cooperate and working with NGO sector in Belgrade ....

SOON WILL UPDATED AND CORECTED https://soundcloud.com/pedja-milojkovic

SEVENUPMANSHIP for piano Op. 71, No. 11

Gary Lloyd Noland, composer