Lyric Soprano Lilian Tong performs Gary Lloyd Noland's setting of Alexander Theroux's poem "What Was The Peach To Nellie Melba?" for soprano & alto, Op. 147, No. 7.

Poem by Alexander Theroux

Since you won’t be my lover,
I refuse to be your friend.
It may be vulgar, this
Hideous female trend,

But I’m one, like God, in number,
Choose to be unique;
You’re with me or against me.
I all or nothing seek.

Don’t ask me to be generous.
Pragmatism’s me;
Show me love and friendship?
Antithesis I see.

I’m a modern woman,
Of this please have no doubt:
I stick around with someone
Only if things work out.

If nothing’s finally in it,
What’s a visit or a drink
To a woman who wants marriage?
I go by what I think

And can measure in a man
Who’ll commit himself to me.
I go by what is solid,
Not by what I see.

No dyads or dichotomies
For such as me, my friend;
To me a value’s what
I’m holding in the end.

Don’t talk to me of grace,
You go from bad to worse.
Winter’s round the corner.
Put money in thy purse.

No parts for me, come round
When ready with the whole.
Bugger drinks and dinner.
I want to own your soul.

Poem copyright © 2015 by Alexander Theroux from Collected Poems (published by Fantagraphics); Music copyright © 2023 by Gary Lloyd Noland • BMI

For more information on composer Gary Lloyd Noland, please visit his website at: garynolandcomposer.com

WHAT WAS THE PEACH TO NELLIE MELBA? for soprano & alto, Op. 147, No. 7; poem by Alexander Theroux

Violinist, pianist, chamber and orchestral musician, devoted to composing neo-classical music. 

I want to weave a gentle, emotional orchestral language, that speaks about live and touches the heart. I try to capture these ephemeral, timeless, and moving moments, transcribing them with devotion to sound and recording them in the sound studio.

The music creations are a testament to the value of retreat,
where silence gives birth to the most profound expressions, contrapuncting the noise of our world.

Thanks for your kind listening and commenting !
Helmut / HELMUTunes

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

WHAT WAS THE PEACH TO NELLIE MELBA? for soprano & alto, Op. 147, No. 7; poem by Alexander Theroux

Gary Lloyd Noland, composer