Golden Gate Rag for piano and other compositions by Gary Lloyd Noland

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 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

Gottes Sohn ist kommen: a Chorale Prelude for piano based on J.S. Bach's Choralgesang B.A.  39, No. 65 (Michael Weisse 1531)Op. 122, No. 1 from Three Incongruisms by Gary Lloyd Noland (originally composed in 1976-77, revised and completed on July 23rd, 2021). This work is planned for publication in the Collected Piano Works of Gary Lloyd Noland, Volume 2, with its planned release date in the Autumn of 2021. For more information on the composer, please visit his website at: https://composergarynoland.godaddysites.com/

Gottes Sohn ist kommen: a Chorale Prelude for piano Op. 122, No. 1  from 3 Incongruisms

Golden Gate Rag was originally composed in 1974-75 when the composer was in high school, only shortly after beginning piano lessons with Goodwin Sammel in Berkeley, CA at age 16 (1973). Although Noland was severely underprivileged insofar as being deprived of early musical training due to his having been raised in an impoverished, semi-dysfunctional broken home (sans piano until he was 11 years old), he had the music of the masters playing in his head since infancy, and so, once the serious musical training commenced at age sixteen, harmony came quite naturally to him. When he entered college at U.C. Berkeley in 1975, he realized he had a more masterful command of harmony than any of his professors, in spite of the spotty musical training (from mostly mediocre teachers) he had received in his formative years. This is a newly revised version of the piece and the first time it has ever been publicly released. The score is due to be made available in Noland's Collected Piano Works Volume 2, which is slated for publication in the autumn of 2021. At the time of this writing (August 11th, 2021) the First Volume (286 pages) of Noland's collected piano works is due out in a matter of weeks. The release of Noland's compositions in large affordable volumes is an ongoing project. Stay tuned! For more information on the composer, please visit his website: https://composergarynoland.godaddysites.com/

Golden Gate Rag for piano Op. 123

Showreel of works by Yanpeng Zhang. For more information please visit the composer's website: yanpeng.me

Fragments in this showreel:

1. Suite in the Style of Light Music
2. Observing a Solemn Giant Sphere
3. Glass Fairy (from 'The Monotone City')
4. Pallbearer's Song

Compiled in Nov 2015.

Showreel 1

6 - End Credits

Misty(即兴过度版)

This is my second completed band piece, with a significantly different character than Debra. This details the story of Icarus, son of the inventor Daedalus of Greek mythology. Both father and son were imprisoned in the Labyrinth of King Minos (which was, ironically, built by Daedalus himself), so to escape, the brilliant inventor fashioned pairs of wings with wax and feathers so that he and his son could escape by flying out of the maze. Daedalus warned Icarus not to fly too close to the sun, however, as the intense heat would cause the wax to melt and the wings to fall apart. Unfortunately, Icarus was so taken by the feeling of flight and their escape that he flew too high and lost his wings, subsequently plunging to his death into the now-named Icarian Sea. I am currently working on a revision of this piece that reflects my development as a composer since writing the original. And the ending will stay true to the story and not be quite so joyous. This was performed by the Town n' Gown Band of Canyon, TX in the summer of 2009.

Flight of Icarus

This track is from the album Echoes and is available for purchase on CD Baby here: http://www.cdbaby.com/cd/MatthewDewey11

Performed by the Russian Philharmonic Orchestra

Symphony No. 1: III. (Russian Philharmonic Orchestra)

Kaidan/怪談

Earth Voice - Unfinished

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

6 - End Credits

yanpengzhang

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Randi Botnen

Gary Lloyd Noland, composer

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