Collected Chamber Works

in Varying Combinations for Piano & Strings

Gary Lloyd Noland

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English

7th Species Publications
01 January 2022

Western "classical" music; Classical music (c 1750 to c 1830); Individual composers & musicians, bands & groups; Musical scores, lyrics & libretti; String instruments

This volume contains the scores & parts of ten pre-COVID chamber works in varying combinations for violin, viola, cello & piano by composer Gary Lloyd Noland (b. 1957). These works were composed within a 30-year time frame spanning the last two decades of the 20th century and first decade of the 21st century (1980-2010). Included in this volume are Noland's: WALTZ FANTASY for violin & piano Op. 87, KORNGOLDAROONIE for string trio Op. 93, IRRATIONALISMUS for cello & piano Op. 96, BIRCHERMUESLI: ""Cereal Music"" for string quartet Op. 6, ROMANCE for viola & piano Op. 10, POCKET TRIO for violin, cello & piano Op. 79, INTERMEZZO for violin & piano Op. 18, DOG DUO for viola & cello Op. 66a, FANTASY IN E MINOR for cello & piano Op. 24, and FUGUE IN G MAJOR for string quartet Op. 13. All of these works were composed for professional classical musicians to perform on recitals and concerts. They are also suitable for seasoned undergraduate and graduate student musicians as well as talented amateur and high school aged musicians, not to mention the occasional prodigiously gifted tween or twain. Having received both high critical acclaim for, and enthusiastic reception to, his music over the past three-plus decades, it is only until recently (2021) that many scores of his compositions had been relatively difficult to come by, as they had heretofore been haphazardly available in only limited costly editions. The publication of this collection marks the third in a series of comfortably affordable volumes of Noland's compositions that may prove to be of interest not only to seasoned chamber musicians (i.e., violinists, violists, cellists & pianists), but also to serious scholars of contemporary classical music. Noland has stood out consistently over the years, ever since having done his time as a student composer in the mid 1970s to late 1980s, as one of the chief proponents from his generation (late baby-boom) of a way of composing that could easily lend itself to being acknowledged (rather than dismissed), by responsible critics and musicologists, as having eventually led towards, or at very least having become inadvertently entangled with, a trend of sorts symptomatic of a bona fide school of thinking insofar as its having represented his own (and certain other composer's) instinctive propensities for refusing categorically to succumb to mainstream musical whimsies dictated by the academic marketplace (if, indeed, there is such a thing). It is not the calling of any composer worth his salt, what with (as is par for the course) such entities being in possession of a patently conspicuous myopic vision, but rather that of discerning music critics, competent musicologists, and discriminating musical connoisseurs, to sort such things out. While such pigeonholing is to be eschewed at all costs, it is, still and all, a necessary evil. It is unmistakably evident to this composer that a new proclivity of sorts has emerged amongst young composers, as exemplified by the musics created by certain high-minded members of the post baby-boom generation(s) (i.e., Gen Xers, Millennials, and Zoomers), whose musical outpourings tend to be less self-consciously influenced by the more anarchistic, nihilistic, pessimistic approaches of the post-war academic modernists (namely: those who produce(d) works that tend toward the stochastically anal and promiscuously higgledy-piggledy) than their immediate forebears. Indeed, Melody and Harmony appear to be thriving once again in certain august musical circles. One can almost seize upon some vague semblance of historical continuity being manifested thereby-a sort of picking-up-where-things-left-off phenomenon-after a sluggish lapse dominated by steaming piles of post-war dreckage, during which years, it must be owned, many serviceable technical innovations were inaugurated by members of the (then) musical elite in all its avant-garden-variety splendor.

By (composer): Gary Lloyd Noland
Imprint: 7th Species Publications
Dimensions: Height: 279mm, Width: 216mm, Spine: 15mm
Weight: 667g
ISBN: 9781732302372
ISBN 10: 1732302375
Pages: 286
Publication Date: 01 January 2022
Audience: General/trade , ELT Advanced
Format: Paperback
Publisher's Status: Active

GARY LLOYD NOLAND (a.k.a. author DOLLY GRAY LANDON, visual artist LON GAYLORD DYLAN, and musicians ARNOLD DAY LONGLY, ORLAN DOY GLANDLY & DARNOLD OLLY YANG) was born in Seattle in 1957 and grew up in a broken home in a crowded house shared by ten or more people on a plot of land three blocks south of UC Berkeley known as People's Park, which has distinguished itself as a site of civil unrest since the late 1960s. As an adolescent, Noland lived for a time in Salzburg (Mozart's birthplace) and Garmisch-Partenkirchen (home of Richard Strauss), where he absorbed a host of musical influences. Having studied with a long roster of acclaimed composers and musicians, he earned a Bachelor's degree in music from UC Berkeley in 1979, continued his studies at the Boston Conservatory, and transferred to Harvard University, where he added to his credits a Masters and a PhD in Music Composition in 1989. His teachers in composition and theory have included John Clement Adams (not to be confounded with composers John Coolidge Adams or John Luther Adams), Alan Curtis (harpsichordist, musicologist, conductor, and one of the musical ""stars"" in Werner Herzog's film on Gesualdo, ""Death for Five Voices""), Sir Peter Maxwell Davies (Master of the Queen's Music from 2004-16), William Denny (student of Paul Dukas), Robert Dickow, Janice Giteck (student of Darius Milhaud and Olivier Messiaen), Andrew Imbrie (student of Nadia Boulanger and Roger Sessions, Pulitzer Prize Finalist, 1995), Earl Kim (student of Arnold Schoenberg, Ernest Bloch, and Roger Sessions), Leon Kirchner (student of Arnold Schoenberg and assistant to Ernest Bloch and Roger Sessions, Pulitzer Prize, 1967) David Lewin (dubbed ""the most original and far-ranging theorist of his generation""), Donald Martino (student of Milton Babbitt, Roger Sessions, and Luigi Dallapiccola, Pulitzer Prize, 1974), Hugo Norden, Marta Ptaszynska (student of Nadia Boulanger and Olivier Messiaen), Chris Rozé (student of Charles Wuorinen, Ursula Mamlok, and Vincent Persichetti), Goodwin Sammel (student of pianist Claudio Arrau), John Swackhamer (student of Ernst Krenek and Roger Sessions), Ivan Tcherepnin (student of Pierre Boulez and Karlheinz Stockhausen, son of Alexander Tcherepnin), and Walter Winslow (brother of Portland composer Jeff Winslow). Noland has attended seminars by composers David Del Tredici (Pulitzer Prize, 1980), Beverly Grigsby (student of Ernst Krenek), Michael Finnissy (leading British composer and pianist), and Bernard Rands (Pulitzer Prize, 1984), and has had private consultations with George Rochberg (""Father of Neo-Romanticism,"" Pulitzer Prize finalist, 1986) and Joaquin Nin-Culmell (student of Paul Dukas and Manuel de Falla, brother of essayist and diarist Anaïs Nin).

Reviews for Collected Chamber Works: in Varying Combinations for Piano & Strings

"""Gary Noland is one of the great composers of the 21st century.""-JACK RUMMEL, KGNU 88.5 FM, Boulder CO ""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.""-DONALD MARTINO, Pulitzer Prize winning composer ""...set in a dizzying harmonic language that loops uncontrollably through a wide-ranging gamut of possible and impossible tonalities ... like watching wet paintings of 19th Century musical memorabilia drip into frazzled 21st Century oblivion...""-ALLEN GIMBEL, AMERICAN RECORD GUIDE ""...florid and juicy...""-RICHARD BUELL, THE BOSTON GLOBE ""Like an Andr� Rieu opium dream, Noland's waltz slowly emerged from a morass of sound, solidified into a lush, decadent, Viennese waltz before dissolving and reforming again and again. Like Bernstein, Noland made great use of the familiar ... personal, unique...""-AARON BERENBACH, NORTHWEST REVERB ""...music that IS music...""-JAMES YANNATOS, Music Director of the Harvard-Radcliffe Orchestra ""...It's a romantic romp, rhythmically robust yet melodically flirting with the nostalgia of cabaret ... Its elegance recalls Elgar, and the serious sides, a synthesis of those strange bedfellows Schubert and Ives ... Noland has incorporated divergent styles that, woven together, work. Cosmopolitan without snobbery, it's intelligent, pleasurable and convincing.""-ROCKY LEPLIN, THE BERKELEY VOICE ""...an absolute gem of a piece...""-CAITRIONA BOLSTER, KWAX 91.1FM, Eugene, Oregon ""Art music certainly needs Noland's Satie-esque humor.""-BRETT CAMPBELL, EUGENE WEEKLY ""Beautiful ... imaginative brave new music...""-DAVID DEL TREDICI, Pulitzer Prize winning composer ""Gary Noland continues to turn out volumes of compositions in classical forms that defy the tradition. Where many composers find contentment in tweaking the forms, Gary twists them mercilessly, goosing the old masters and the warhorses they rode in on...wildly entertaining.""-JACK GABEL, NORTH PACIFIC MUSIC ""Gary Noland is the Richard Strauss of the 21st century""-GUILLERMO GALINDO, Mexican composer ""Gary Noland is a composer to end all composers...""-DAVID MOORE, AMERICAN RECORD GUIDE ""Gary Noland is possessed of a rich musical imagination, whose technique distills the achievements of Reger, Strauss and Schoenberg but also refracts their post-romantic/expressionist tendencies through the lens of twenty-first century post-modernism, American style...This Noland does with a wit and aplomb unique to the music of our time.""-IRA BRAUS, Associate Professor of Music History, THE HARTT SCHOOL"