THE PIMPLETON PROCRASTURBATION ENSEMBLE performs DRIVE-THRU EXEQUIES IN THE PRE-RUSH HOUR RUSH by GARY LLOYD NOLAND, Op. 138, No. 6 (October 9th, 2022). For more information on the composer, please visit his website at: garynolandcomposer.com

DRIVE-THRU EXEQUIES IN THE PRE-RUSH HOUR RUSH, Op. 138, No. 6

The Pimpleton Procrasturbation Ensemble performs INCANDESCENT PUTREFACTION by Gary Lloyd Noland. For more information on the composer, please visit his website at: garynolandcomposer.com

INCANDESCENT PUTREFACTION

The Pimpleton Procrasturbation Ensemble performs "A Stern Prussian Head - Governess Follows to a T the Rigorous Codes of Practice Laid Out in Obsolescent Victorian-Era Toilet-Training Manuals for Micro-Regulating the Excremental Excretions of her Young Charges, viz. the Sons & Daughters of Prosperity-Gospel-Banging Fundamentalists and their Belarusian Mail-Order Brides" by Gary Lloyd Noland. For more information on the composer, please visit his website at: garynolandcomposer.com

A Stern Prussian Head - Governess Follows to a T the Rigorous Codes of Practice Laid Out in…

Pianist Ethan Dunne performs AUBADE, Op. 40, No. 5 by Gary Lloyd Noland. The score of this piece is available in COLLECTED PIANO WORKS: Volume 1, which is available for purchase at most major book retailers, including Amazon at: https://www.amazon.com/Collected-Piano-Works-Lloyd-Noland/dp/1732302383/ref=sr_1_1?crid=1TGM5EQRWT221&keywords=gary+lloyd+noland+in+books&qid=1674241227&sprefix=gary+lloyd+noland%2Caps%2C146&sr=8-1

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

AUBADE for piano, Op. 40, No. 5

BURLESQUE for piano, Op. 1, No. 20 performed/recorded by composer Gary Lloyd Noland on a Bösendorfer Grand in a Harvard Music Department classroom in Autumn, 1983, using an inexpensive cassette recorder. The cassette recording was digitally transcribed on February 13th, 2023 (almost forty years later), so the recording quality is a bit degraded. This recording is presented for historic, not commercial, purposes, as it offers insights into how the composer interpreted his own score (funky piano technique notwithstanding).

BURLESQUE for piano, Op. 1, No. 20

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

THE BROOM BRIGADE for piano, Op. 25

Pedro Alvarez: Monotype II (2014)
for soprano, flute and e-guitar
Trace ensemble (Peyee Chen, Alba Bru & Diego Castro Magas)
St Paul's Hall, Huddersfield, UK, 07/03/2016
www.pedroalvarez.info

Monotype II (new recording)

Pedro Alvarez: Monotype I (2014)
for soprano, flute and e-guitar
Trace ensemble (Peyee Chen, Alba Bru & Diego Castro Magas)
St Paul's Hall, Huddersfield, UK, 07/03/2016
www.pedroalvarez.info

Monotype I (new recording)

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

Immigrant, nomad, traveller and sleepwalker. I make music too.

Popular tracks tagged #new perplexity