My first attempt at composing for orchestra using Reaper and the BBC Spitfire Orchestra samples.

First One

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)

Soprano Deborah Harrington and pianist Gary Lloyd Noland perform Noland's setting of VERBORGENHEIT

VERBORGENHEIT For Soprano & Piano, Op. 1, No. 11 (Möricke)

Soprano Deborah Harrington and pianist Gary Lloyd Noland perform Noland's setting of Eduard Mörike's poem VERBORGENHEIT, Op. 1, No. 11. For more information on the composer, please visit his website at: garynolandcomposer.com

VERBORGENHEIT For Soprano & Piano, Op. 1, No. 11 (poem: Eduard Mörike)

Pianist Sheila Waxman performs BURLESQUE, Op. 1, No. 20 (1983) by Gary Lloyd Noland. This performance took place on a Thelma E. Goldberg concert at Paine Hall, Harvard University, May 14th, 1989. The famed Princeton composer/theorist Dmitri Tymoczko also had a work featured on this selfsame concert. Dmitri was a young Harvard undergraduate at the time but Noland, upon hearing Dmitri's music for the first time, immediately recognized his unusual musical gifts(Noland is NEVER wrong about such things!). For more information on the composer, please visit his website at: garynolandcomposer.com.

BURLESQUE for piano, Op. 1, No. 20 (Sheila Waxman, piano)

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 LAST-DITCH ENTREATY by Gary Lloyd Noland (April 21st, 2023). For more information on the composer, please visit his website at: garynolandcomposer.com

LAST-DITCH ENTREATY

Soprano Hayley Boggs and pianist Maryna Buksha perform Gary Lloyd Noland's setting of Alexander Theroux's poem "Autobiography," Op. 108. For more information on Gary Lloyd Noland, please visit his website at: garynolandcomposer.com

Here is Alexander Theroux's poem "Autobiography":

My default reflex is to disappear.
My defect reflex is to default.
My appearance is to reflect default.
My despair appearance is to defect.
My reflex is to appear to default.
My reappearance is to reflect defect.
My refault defect is to reappear.
My defect reappearance is to despair.

Music by Gary Lloyd Noland, Op. 108
Poem by Alexander Theroux

Music copyright © 2019 by Gary Lloyd Noland
Text from Collected Poems copyright © 2015 by Alexander Theroux 
Permission to set this poem has been granted by the author.

AUTOBIOGRAPHY for soprano & piano, Op. 108; poem by Alexander Theroux

Soprano Hayley Boggs and pianist Victor Hugo Morales perform composer Gary Lloyd Noland's setting of Heinrich Heine's poem "Aus meinen Tränen Sprießen" from his FOUR HEINE LIEDER, Op. 19, No. 1. For more information on composer Gary Lloyd Noland, please visit his website at: garynolandcomposer.com

AUS MEINEN TRÄNEN SPRIESSEN from FOUR HEINE LIEDER, Op. 19, No. 1

Soprano Hayley Boggs and pianist Victor Hugo Morales perform Gary Lloyd Noland's setting of Eduard Mörike's poem VERBORGENHEIT, Op. 1, No. 11 (June 26th, 2023). Upon hearing a recording of this Lied at the composition seminar he taught at Harvard back in 1984, Pulitzer prize winning composer Leon Kirchner declared before his students that this song was "as great as anything by Wagner." Noland's setting of VERBORGENHEIT has been performed by a number of singers and pianists over the past forty years and now, finally, the composer is delighted to present a recording that meets his standards for release on one of his upcoming CD albums. For more information on composer Gary Lloyd Noland, please visit his website at: garynolandcomposer.com

VERBORGENHEIT for soprano & piano, Op. 1, No. 11; poem by Eduard Mörike

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

Soprano Hayley Boggs and pianist Maryna Buksha perform Gary Lloyd Noland's setting of Alexander Theroux's poem "All Roys are fat," Op. 106 (2019) 

All Roys are fat but tubbiness can’t hurt
in everything that life presents of choice.
Don’t push away that wet dessert.
Doesn’t size allow a fuller voice?

Portliness by definition makes a ring.
I say eat the head off anything.

If a belt’s too short around your waist, try string.
What is comic usually can sing.

Music by Gary Lloyd Noland, Op. 106
Poem by Alexander Theroux

Music copyright © 2019 by Gary Lloyd Noland
Text from Collected Poems copyright © 2015 by Alexander Theroux 
Permission to set this poem has been granted by the author.

ALL ROYS ARE FAT for soprano & piano, Op. 106: poem by Alexander Theroux

280019630103345(9)

Soprano Hayley Boggs and pianist Maryna Buksha perform Gary Lloyd Noland's setting of Alexander Theroux's poem "Winter Wounds" (October 10th, 2023, Op. 148). For more information on the composer, please visit his website at: garynolandcomposer.com

Poem by Alexander Theroux

Imagine the moron
Who is loved
Thinking she deserves
By looks or fame or fate
Another's heart,
And so reserves
Part of what she thinks
She shouldn't give
To her less-deserving mate.
You can take the time,
Queen Pig, to spend
A lifetime as a fop?
We deserve nothing,
Unless everything—
You are certainly
Not enough—
To compensate for all
The lies we're told,
Your haughty huffs.
If someone in the world
Should ever be chosen
To rage against the cold
At the last minute,
The pall of coming death,
It won't be me;
I'll welcome it,
Without deliberation,
Without a reservation,
Winter wounds and all.

Poem copyright 2015 by Alexander Theroux from Collected Poems (published by Fantagraphics). Music copyright © 2019 by Gary Lloyd Noland • 7th Species • BMI

Permission granted by the author to the composer to set his poem to music.

WINTER WOUNDS for soprano & piano, Op. 148; poem by Alexander Theroux

Pianist extraordinaire Maryna Buksha performs LIEBESSCHMERZ FUGE, Op. 95, by Gary Lloyd Noland. For more information on the composer, please visit his website at: garynolandcomposer.com

LIEBESSCHMERZ FUGE for piano, Op. 95

Intro And Rag

🎶 Welcome to the Future of Music 🎶

🤖 Powered by Meta's revolutionary MusicGen technology, we're breaking the barriers between machine and emotion, one note at a time.

👨‍🔬 Who We Are
We are pioneers at the intersection of AI and creativity. Our aim? To explore the unlimited canvas of sound through intelligent algorithms.

🔥 Why You Should Listen
Ever wondered what music designed by an ever-learning machine sounds like? Here, you'll find tunes that are not just generated, but evolved—each track is an iteration, an experiment, a new form of expression.

🎛️ The Process
Our intelligent algorithms absorb a multitude of genres, styles, and tones to create something unprecedented. Imagine Jazz meeting Electronic, only for Classical elements to weave in seamlessly—every song is a surprise.

🌱 Song Titles as Seeds & Prompts
The titles of our tracks aren't just names; they're the "seeds" that sparked each musical journey. These seeds, along with their corresponding prompts, can be used to reproduce the exact tracks you hear. Intrigued? Prompts are available upon request, allowing you to delve into the AI's creative process and even recreate the magic yourself.

💡 Innovation
We're not just making music; we're making history. By allowing AI to contribute to the artistic process, we're opening the door to limitless possibilities, challenging norms, and redefining the music industry as we know it.

👁️‍🗨️ Join The Conversation
We're more than a channel; we're a community. Your likes, comments, and shares fuel our learnings, steering the future of this project.

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

New tracks tagged #late romantic