DEMAGOGUE UNSEATMENT CELEBRATION MARCH for military band Op. 110

VENGE ART

PORNOMUSIK Op. 48

NINE MUSICAL JUNK SCULPTURES Op. 102

MUSICAL PORTRAIT OF ALEXANDER THEROUX

Allegro for piano and other works by Gary Lloyd Noland

Proverb & Aaeeetta Garrlicca and other works by Gary Lloyd Noland

Old Boston and other works by Gary Lloyd Noland

Larcabounger Zizz and other works by Gary Lloyd Noland

TWIGGY LITTLE WEENY-BOPPER BENDERS from MUSICAL JUNK SCULPTURES Op. 102 and other works by composer Gary Lloyd Noland

This piece, completed on Aug. 29, 2020, is one of Noland's COVIDITTIES Op. 116.  For more information on composer Gary Lloyd Noland, please visit his website at: https://composergarynoland.godaddysites.com/

PANDEMICAMODIUM from 20 COVIDITTIES, Op. 116, No. 8

This is the fifteenth in a set of twenty pieces Op. 1 (1983). Performed by the composer.

TWO-PART INVENTION IN G MINOR for piano Op. 1, No. 15

Having for the last several years imagined the joy and jubilation that would be felt collectively once the current king is removed from his throne, I have composed this modest piece in anticipation thereof:  "DEMAGOGUE UNSEATMENT CELEBRATION MARCH" for MILITARY BAND (Op. 110). For more information on composer Gary Lloyd Noland, go to: https://composergarynoland.godaddysites.com/

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

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

Pianist Randall Hodgkinson performs ALLEMANDE from SIX AND A HALF PIANO PIECES Op. 8 (1986) by GARY LLOYD NOLAND. This piece was recorded at the home of Paul Matisse (grandson of Henri Matisse and stepson of Marcel Duchamp) in Groton, just outside of Boston in November, 1987.

ALLEMANDE from SIX AND A HALF PIANO PIECES Op. 8, No. 4

Pianist Randall Hodgkinson performs PROVERB & AAEEETA GARRLICCA!!! Op. 8, Nos. 6 & 6 1/2 from "Six and a Half Pieces" for piano by Gary Lloyd Noland. This performance includes a brief guest appearance by the composer shouting "Eat Garlic!" with a Sicilian accent. Dedicated to Ira Braus, who was the Head Garlichead of Cambridge (MA) back in the 1980s. This piece was recorded at the home of Paul Matisse (grandson of Henri Matisse and stepson of Marcel Duchamp) in Groton, just outside of Boston in November, 1987. For more information on the composer, please visit his website at: composergarynoland.godaddysites.com/

PROVERB & AAEEETTA GARRLICCA!!! Op. 8, Nos. 6 & 6 1/2 for piano

Pianist RANDALL HODGKINSON performs ALLEGRO Op. 8, No. 1 from SIX AND A HALF PIECES FOR PIANO by GARY LLOYD NOLAND. This piece was recorded at the home of Paul Matisse (grandson of Henri Matisse and stepson of Marcel Duchamp) in Groton, just outside of Boston in November, 1987. For more information on composer GARY LLOYD NOLAND, please visit his website at: composergarynoland.godaddysites.com/

ALLEGRO for piano Op. 8, No. 1

May 27th, 2006: Performance of “Venge Art: a Chamber Novel for Narrator, Musicians, Actors, Dancers & Culinary Artists, Op. 83, Fascicle #17, Chapter 17: “MacJob.” Gary Noland, narration & piano; Jeff Winslow, toys & gadgets; Terry Wergeland, Theremin, baritone, accordion, trumpet; Ines Voglar, violin; Kris Klavik, oboe & English horn; Shirley Johnson, Djembe; Dan Johnson, resonator guitar; Jack Gabel, audience prompts; Ben Farrell, toys & gadgets; John Caughman, trumpet. Seventh Species Composers Concert Series, Sherman Clay, Portland, Oregon.

MACJOB from VENGE ART Fascicle 17, Chapter 17, Op. 83

This rendition of PORNOMUSIK by GARY LLOYD NOLAND was completed on August 26th, 2018. The original recording at the piano dates back to ca. 2000-2002. The score consists of twelve pages of lavishly illustrated lurid comix with dialogue balloons containing carefully conceived albeit random texts (illustrated by the composer's  visual artist alter ego LON GAYLORD DYLAN and written by his novelist and playwright alter ego DOLLY GRAY LANDON) that is recited by the performer(s). Any number of musicians is permitted to perform this piece in the configurations of their choosing, which lends considerable flexibility to interpretations thereof. This recording consists of the composer at the piano extemporizing and reciting from the dialogue balloons provided in the score. The illustrations in the score date back to ca. 1971-72, when the artist (composer) was only fourteen years of age and residing in Garmisch-Partenkirchen, Germany (where Richard Strauss lived for much of his life until his death in 1949). Every performance of this piece yields completely different results. This performance is one of many possible interpretations.

PORNOMUSIK Op. 48 (2000)—Aug. 26, 2018

This rendition of PORNOMUSIK by GARY LLOYD NOLAND was completed on August 19th, 2018. The original recording at the piano dates back to ca. 2000-2002. The score consists of twelve pages of lavishly illustrated lurid comix with dialogue balloons containing carefully conceived albeit random texts (illustrated by the composer's visual artist alter ego LON GAYLORD DYLAN and written by his novelist and playwright alter ego DOLLY GRAY LANDON) that is recited by the performer(s). Any number of musicians is permitted to perform this piece in the configurations of their choosing, which lends considerable flexibility to interpretations thereof. This recording consists of the composer at the piano extemporizing and reciting from the dialogue balloons provided in the score. The illustrations in the score date back to ca. 1971-72, when the artist (composer) was only fourteen years of age and residing in Garmisch-Partenkirchen, Germany (where Richard Strauss lived for much of his life until his death in 1949). Every performance of this piece yields completely different results. This performance is one of many possible interpretations.

PORNOMUSIK Op. 48 (2000)—August 19, 2018

This rendition of PORNOMUSIK by GARY LLOYD NOLAND was completed on August 15th, 2018. The original recording at the piano dates back to ca. 2000-2002. The score consists of twelve pages of lavishly illustrated lurid comix with dialogue balloons containing carefully conceived albeit random texts (illustrated by the composer's visual artist alter ego LON GAYLORD DYLAN and written by his novelist and playwright alter ego DOLLY GRAY LANDON) that is recited by the performer(s). Any number of musicians is permitted to perform this piece in the configurations of their choosing, which lends considerable flexibility to interpretations thereof. This recording consists of the composer at the piano extemporizing and reciting from the dialogue balloons provided in the score. The illustrations in the score date back to ca. 1971-72, when the artist (composer) was only fourteen years of age and residing in Garmisch-Partenkirchen, Germany (where Richard Strauss lived for much of his life until his death in 1949). Every performance of this piece yields completely different results. This performance is one of many possible interpretations.

PORNOMUSIK Op. 48—August 15th, 2018

This rendition of PORNOMUSIK by GARY LLOYD NOLAND was completed on August 23rd, 2018. The original recording at the piano dates back to ca. 2000-2002. The score consists of twelve pages of lavishly illustrated lurid comix with dialogue balloons containing carefully conceived albeit random texts (illustrated by the composer's visual artist alter ego LON GAYLORD DYLAN and written by his novelist and playwright alter ego DOLLY GRAY LANDON) that is recited by the performer(s). Any number of musicians is permitted to perform this piece in the configurations of their choosing, which lends considerable flexibility to interpretations thereof. This recording consists of the composer at the piano extemporizing and reciting from the dialogue balloons provided in the score. The illustrations in the score date back to ca. 1971-72, when the artist (composer) was only fourteen years of age and residing in Garmisch-Partenkirchen, Germany (where Richard Strauss lived for much of his life until his death in 1949). Every performance of this piece yields completely different results. This performance is one of many possible interpretations.

PORNOMUSIK Op. 48 (2000)—August 23rd, 2018

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 is my first attempt at a musical portrait. This portrait is of the novelist, essayist, and poet Alexander Theroux (born 1939)—a delicately sculpted, multi-layered comprovisation for piano. I am hoping to do more musical portraits of artists, writers, and performers who emanate powerfully luminous auras in their work. I have four or five other people in mind for this project.

PORTRAIT OF NOVELIST, ESSAYIST & POET ALEXANDER THEROUX for piano

THE SWANK AND VILE is the second in a set of nine MUSICAL JUNK SCULPTURES Op. 102. To read more about composer GARY LLOYD NOLAND, please visit his website at: https://composergarynoland.godaddysites.com/

THE SWANK AND VILE  from  MUSICAL JUNK SCULPTURES  Op. 102, No. 2.

LARCABOUNGER ZIZZ is the eighth in a set of NINE MUSICAL JUNK SCULPTURES Op. 102. To read more about composer GARY LLOYD NOLAND, please visit his website at: https://composergarynoland.godaddysites.com/

LARCABOUNGER ZIZZ  From  MUSICAL JUNK SCULPTURES  OP. 102, No. 8

AVALANCHINE JINXES is the seventh in a set of NINE MUSICAL JUNK SCULPTURES Op. 102. To read more about composer GARY LLOYD NOLAND, please visit his website at: composergarynoland.godaddysites.com/

AVALANCHINE JINXES  from  MUSICAL JUNK SCULPTURES  Op. 102, No. 7

TWIGGY LITTLE WEENY-BOPPER BENDERS is the sixth in a set of nine MUSICAL JUNK SCULPTURES Op. 102. To read more about composer GARY LLOYD NOLAND, please visit his website at: composergarynoland.godaddysites.com/

TWIGGY LITTLE WEENY-BOPPER BENDERS from  MUSICAL JUNK SCULPTURES  Op. 102, No. 5

CREATURE DISCOMFORTS is the sixth in a set of nine MUSICAL JUNK SCULPTURES Op. 102. To read more about composer GARY LLOYD NOLAND, please visit his website at: composergarynoland.godaddysites.com/

CREATURE DISCOMFORTS from  MUSICAL JUNK SCULPTURES  Op. 102, No. 3

BOTFEED is the fourth in a set of nine MUSICAL JUNK SCULPTURES Op. 102. To read more about composer GARY LLOYD NOLAND, please visit his website at: composergarynoland.godaddysites.com/

BOTFEED   from  MUSICAL JUNK SCULPTURES  Op. 102, No. 4.

ZOMBO QUACKO is the ninth in a set of NINE MUSICAL JUNK SCULPTURES Op. 102. To read more about composer GARY LLOYD NOLAND, please visit his website at: composergarynoland.godaddysites.com/

ZOMBO QUACKO from NINE MUSICAL JUNK SCULPTURES Op. 102, No. 9

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

THE SWANK AND VILE from MUSICAL JUNK SCULPTURES Op. 102, No. 2.

Gary Lloyd Noland, composer