MUSIC IS DEAD: a Paradox in Fugue and other works by GARY LLOYD NOLAND

Deformed Fugue for harpsichord and other compositions by Gary Lloyd Noland

MUSIC IS DEAD: a Paradox in Fugue for SATB Op. 53

FRAGMENTS OF A GREAT CONFESSION for piano, Op. 71, No. 23

THE BROOM BRIGADE for piano, Op. 25

NOCTURNE for piano, Op. 1, No. 7

FUGUE, Op. 13

The Pimpleton Procrasturbation Ensemble performs ANGELIC EFFLUVIATIONS by Gary Lloyd Noland (March 21st, 2023). For more information on the composer, please visit his playlist at: garynolandcomposer.com

ANGELIC EFFLUVIATIONS

THE ADVENTURES OF A PHILANDERING F CHORD

INDEX DEMENTIA from 24 POSTLUDES for piano Op. 72, No. 11 performed by the composer. This piece was dedicated to Lukas Foss. For more information on Gary Lloyd Noland, please visit his website at: https://composergarynoland.godaddysites.com/

INDEX DEMENTIA for piano Op. 72, No. 11

ORLAN DOY GLANDLY conducts members of the PROCRASTURBATION ENSEMBLE in GARY LLOYD NOLAND'S PRIMORDIAL GLOOP, with the composer at the piano. For more information on GARY LLOYD NOLAND, please visit his website at: https://composergarynoland.godaddysites.com/

PRIMORDIAL GLOOP

MUSIC IS DEAD:  a Paradox In Fugue Op. 53. For more information on composer GARY LLOYD NOLAND, please visit his website at: https://composergarynoland.godaddysites.com/

MUSIC IS DEAD:  a Paradox In Fugue Op. 53

GARY LLOYD NOLAND conducts members of the PROCRASTURBATION ENSEMBLE in a performance of his DISAFFECTION DANCE. Performers are: ORLAN DOY GLANDLY, DOLLY GRAY LANDON, LON GAYLORD DYLAN, DORLAND OLLY YANG, and ARNOLD DAY LONGLY. For more information on the composer, please visit his website at: https://composergarynoland.godaddysites.com/

DISAFFECTION DANCE

GARY LLOYD NOLAND conducts members of the PROCRASTURBATION ENSEMBLE in a performance of his THORN CLOWNS & NAGPIPERS. Performers are: ORLAN DOY GLANDLY, DOLLY GRAY LANDON, LON GAYLORD DYLAN, DORLAND OLLY YANG, and ARNOLD DAY LONGLY. For more information on the composer, please visit his website at: composergarynoland.godaddysites.com/

NAG CLOWNS & THORN PIPERS

The PIMPLETON PROCRASTURBATION ENSEMBLE performs BLARG - MA - GLARG by GARY LLOYD NOLAND. For more information on the composer, please visit his website at: https://composergarynoland.godaddysites.com/

BLARG - MA - GLARG

The PIMPLETON PROCRASTURBATION ENSEMBLE performs CANDY CANES & COLONOSCOPIES by GARY LLOYD NOLAND. For more information on the composer, please visit his website at: https://composergarynoland.godaddysites.com/

CANDY CANES & COLONOSCOPIES

The PIMPLETON PROCRASTURBATION ENSEMBLE performs THE KAFKA DOGS OF CHINATOWN by GARY LLOYD NOLAND. For more information on the composer, please visit his website at: https://composergarynoland.godaddysites.com/

THE KAFKA DOGS OF CHINATOWN

Adagietto Doloroso in G Minor for piano: in memoriam Frederic Rzewski (Op. 121). Having just learned of the death of composer/pianist Frederic Rzewski this morning (26 June, 2021), I felt strongly that this piece I was in the process of composing (with only a few finishing touches needed before the score goes to press) would act as a suitable homage to this titan among composers, who influenced so many of us, and whom I had the good fortune of meeting on a couple of occasions back in the early 1990s after hearing him perform his own compositions on a couple of concerts in the Bay Area. His music will not be forgotten and his legacy will live on. He is, arguably, one of the most important composers for the piano of the past fifty years. Rest in peace, Frederic Rzewski! You were one of the great musicians of your time! For more information on Gary Lloyd Noland, please visit his website at: composergarynoland.godaddysites.com/

Adagietto Doloroso in G Minor for piano: in memoriam Frederic Rzewski

Deformed Fugue for harpsichord Op. 17 (1977, revised 1990). For more information on composer Gary Lloyd Noland, please visit his website at:
https://composergarynoland.godaddysites.com/

Royal OilWorks Music

Deformed Fugue for harpsichord Op. 17

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)

Pianist Kaori Katayama Noland performs TABLOID, Op. 29, No. 2 from QUAALUDE, TABLOID & BUG by Gary Lloyd Noland. For more information on the composer, please visit his website at: garynolandcomposer.com

TABLOID for piano, Op. 29, No. 2; Kaori Katayama Noland, piano

The New Quartet (with Leslie Sawyer, 1st violin, who was then concert master of the Eugene Symphony Orchestra under the baton of Marin Alsop [the composer will have to research further to provide the names of other Eugene Symphony players, as he is currently unable to locate the original program) performs String Quartet No. 2, movements 6—10 (1993)by Gary Lloyd Noland. This performance took place on a Seventh Species concert under the umbrella of the University of Oregon’s Music Today Festival at The Unitarian Church in Eugene, Oregon on April 22nd, 1995. This is from a newly digitized recording from an ancient cassette tape which the composer picked up from a local service that transcribes cassettes and DATs to digital media on the afternoon of February 13th, 2023—much to his delight!

String Quartet No. 2, Op. 32, Movements 6 - 10 (1993)

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)

October 27th, 1998: “VENGE ART: Fascicle #1” for narrator, musicians, actors, dancers, and culinary artists (Op. 39)by Gary Lloyd Noland. Art Maddox, narrator; Gary Lloyd Noland, piano, typewriter, and Nolander; Jackie T. Gabel, synthesized percussion;  Jeff Defty, cello;  Rene Salm, organ;  Laura Zaerr, harp; Peter Thomas, guitar; Dyer Snider, Native American Flute; Timothy Mason, television. Seventh Species Composers concert, United Lutheran Church, Eugene, Oregon.

VENGE ART: Fascicle #1, Op. 39 (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)

Composer Gary Lloyd Noland performs his FRAGMENTS OF A GREAT CONFESSION for piano, Op. 71, No. 23 (2003). For more information on the composer, please visit his website at: garynolandcomposer.com

Composer/pianist Gary Lloyd Noland performs his children's piece titled THE BROOM BRIGADE, Op. 25, for piano. This performance took place on a Seventh Species Concert at the Central Lutheran Church in Eugene, Oregon on November 11th, 1994. This was the inaugural Seventh Species Contemporary Classical Music Series concert in Oregon after Noland founded the series in San Francisco in 1990. He and his wife Kaori moved from Berkeley to Eugene in February, 1993. Noland currently resides with his wife Kaori in the Portland metro area (02/15/2023). To read more about the composer, please visit his website at: garynolandcomposer.com

FUGUE (for string quartet), Op. 13 (1978, revised 1989), by Gary Lloyd Noland was originally scored for string orchestra (which was once played by the strings of the Harvard-Radcliffe Orchestra under the baton of James Yannatos)and finalized in a version for string quartet. This is a MIDI harpsichord rendition of the work.

Composer Gary Lloyd Noland performs his NOCTURNE for piano, Op. 1, No. 7 (1983). For more information on the composer, please visit his website at: garynolandcomposer.com

NOCTURNE For Piano, Op. 1, No. 7

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

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

The Pimpleton Procrasturbation Ensemble performs COCKROACH CORONATION SLOG, Op. 142, No. 6, by Gary Lloyd Noland (March 18th, 2023). For more information on the composer, please visit his website at: garynolandcomposer.com

COCKROACH CORONATION SLOG, Op. 142, No. 6

The Pimpleton Procrasturbation Ensemble performs THE DEBONERIZATION OF AMERIKA by Gary Lloyd Noland, Op. 142, No. 4 (March 19th, 2023). For more information on the composer, please visit his website at: garynolandcomposer.com

THE DEBONERIZATION OF AMERIKA, Op. 142, No. 4

The Pimpleton Procrasturbation Ensemble performs ANGELIC EFFLUVIATIONS, Op. 142, No. 12, by Gary Lloyd Noland (March 21st, 2023). For more information on the composer, please visit his website at: garynolandcomposer.com

ANGELIC EFFLUVIATIONS, Op. 142, No. 12

The Pimpleton Procrasturbation Ensemble performs THE ADVENTURES OF A PHILANDERING F CHORD by Gary Lloyd Noland (March 21st, 2023). For more information on the composer, please visit his website at: garynolandcomposer.com

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

String Quartet No. 2, Op. 32, Movements 6 - 10 (1993)

Gary Lloyd Noland, composer