GARY NOLAND'S COMPOSITIONS, LISTED RETRO-CHRONOLOGICALLY
2009:
In progress: "Liebesschmerz Fuge" for solo piano (Op. 95). Duration: ca. 16 minutes. Ca. 35 pages
2008:
In progress: "Goldberg Suite" for chamber orchestra. Adaptation of several of Bach's Goldberg Variations. Duration: ca. 20 minutes.
"Korngoldaroonie" for string trio (violin, viola & cello), a tribute to Erich Wolfgang Korngold (Op. 94). Duration: 3 minutes. 6 pages.
"Aeturnum Vale" for piano, in memoriam David Foster Wallace (Op. 93). Duration: ca 2 minutes. 4 pages.
"Nothing is More," a comedy in verse with music in six acts for six actors and extras (Op. 92). Duration: ca. 5 hours. 215 pages.
"Funeral Waltz" for piano (Op. 91). Duration: ca. 5 minutes. 12 pages.
In progress: piano piece (untitled) in F minor.
2007:
"Love Theory 101," a comedy in verse in four acts for six actors and extras (Op. 90). Duration: ca. 2 hours. 87 pages.
"Café Ritardando," a comic book opera in multiple acts for any number of singers and players (Op. 89). Duration: variable. 200 pages of graphic notation in the form of an underground comic book illustrated by Gary Noland.
"Sixty Lurid Albumblatss" in pictographic notation for 1–1000 players (Op. 88). Duration: variable. 120 pages.
“Waltz Fantasy” for violin & piano (Op. 87).
Duration: ca. 13 minutes. 38 pages.
2006:
Untitled
piece for orchestra (unfinished), Duration: unspecified.
“Abschied” for bassoon, cello & piano (Op.
86). Duration: ca. 3’30”. 5 pages.
“Dog Duo” for clarinet & bassoon (Op.
66b). Duration: ca. 3’30”. 4 pages.
“Schizomezzo” for piano (Op. 85). Duration: ca. 5
minutes. 8 pages.
“Venge
Art: Fascicle #17”
for narrator, musicians, actors, dancers, and culinary artists (Op. 84). Duration: ca.
45 minutes. Freeland Publications.
“Venge
Art: Fascicle #16”
for narrator, musicians, actors, dancers, and culinary artists (Op. 83). Duration: ca.
25 minutes. Freeland Publications.
“Foul
Weather Fiend” for
narrator & musicians (Op. 82). Duration: ca. 40 minutes.
“Two-Part
Invention in D Major” for harpsichord or piano (Op. 81). Duration: ca 1’45”. 2
pages.
“Two-Part
Invention in D Minor” for harpsichord or piano (Op. 70). Duration: ca 1’45”. 2
pages.
2005:
“Royal Oilworks Music”—8 electro-acoustic pieces (Op. 80).
Duration: ca. 52 minutes. NPM.
“Pocket
Trio” for violin,
cello & piano (Op. 79). Duration: ca. 1 minute. Freeland Publications.
“Three Penitential Excercises” for piano (op. 78). Duration: ca. 4
minutes. 4 pages. Freeland Publications.
“Nimmersatte Liebe” for soprano and piano. Setting of poem by Möricke. In progress.
“Venge
Art: Fascicle #16”
for narrator, musicians, actors, dancers, and culinary artists. In progress.
“Festmusik:
Fanfaronades, Parades & Escapades” for Brass Octet and Tympani (Op. 77). Duration: ca. 10
minutes.
36 pages. Freeland Publications.
“Allemande
in F Major” for
harpsichord or piano (in memoriam Laurette Goldberg) (Op. 76). Duration: ca. 3 minutes.
2 pages. Freeland Publications.
“24
Postludes for Piano” (Op.
72). Duration: ca. 2 hours, 28 minutes.
2004:
“Old
World Capers” for
narrator and musicians (Op. 75). Duration: ca. 20 minutes.
“No
Infair” for
narrator and musicians (Op. 74). Duration: ca. 15 minutes. Text used as program notes for “24 Interludes
for Piano” (Op. 71, Volume 1).
“Vain
and Abel” for
narrator and musicians (Op. 73). Duration: ca. 10 minutes. Text used as program
notes for
“24 Postludes for Piano” (Op. 72, Volume 1).
Piece
(untitled) for oboe
and piano. In progress.
2003:
“24
Interludes for Piano” (Op. 71). Duration: ca. 2 hours, 32 minutes.
“Access
of Oil” for French
horn, violin, cello, piano, and percussion. Duration: ca.
13 minutes. Ca. 50 pages. In progress.
2002:
“Venge
Art: Fascicle #15”
for narrator, musicians, actors, dancers, and culinary artists (Op. 69). Duration: ca.
65 minutes. 62 pages. Freeland Publications.
“Venge
Art: Fascicle #14”
for narrator, musicians, actors, dancers, and culinary artists (Op. 68). Duration: ca.
50 minutes. 38 pages. Freeland Publications.
“Venge
Art: Fascicle #13”
for narrator, musicians, actors, dancers, and culinary artists (Op. 67). Duration: ca.
35 minutes. 28 pages. Freeland Publications.
“Dog Duo” for viola & cello (Op.
66a). Duration: ca. 3’30”. 4 pages.
Freeland Publications.
“Locobrations” for piano (Op. 65). Duration: ca. 2 minutes.
2 pages. Freeland Publications.
“Venge
Art: Fascicle #12”
for narrator, musicians, actors, dancers, and culinary artists (Op. 64). Duration: ca.
60 minutes. 54 pages. Freeland Publications.
“Venge
Art: Fascicle #11”
for narrator, musicians, actors, dancers, and culinary artists (Op. 63). Duration: ca. 60
minutes. 56 pages. Freeland Publications.
“Venge
Art: Fascicle #10”
for narrator, musicians, actors, dancers, and culinary artists (Op. 62). Duration: ca. 40
minutes. 24 pages. Freeland Publications.
2001:
“Venge
Art: Fascicle #9”
for narrator, musicians, actors, dancers, and culinary artists (Op. 61). Duration: ca. 30
minutes. 24 pages. Freeland Publications.
“Allegro in B Flat Major” for piano (Op. 60). Duration: ca. 4 minutes.
6 pages. Freeland
Publications.
“Three
Little Bonbons” for
piano (Op. 59). Duration: ca. 1,000 years. No. 1, “Conference Hopper’s Song,” No.
2, “Six O’Clock Blues,” No. 3, “Millennial Celebration.” 4 pages. Freeland Publications.
“Epicedium” for piano, in memory of the victims
of the East Coast suicide attacks of September 11th, 2001 (Op. 58). Duration: ca. 2’30”. 4 pages. Freeland Publications. (The score of this piece was sold to
raise money for the American
Red Cross Liberty Disaster Relief Fund.)
“Venge
Art: Fascicle #8”
for narrator, musicians, actors, dancers, and culinary artists (Op. 57). Duration: ca.
60 minutes. 45 pages. Freeland Publications.
“Venge
Art: Fascicle #7”
for narrator, musicians, actors, dancers, and culinary artists (Op. 56). Duration: ca.
45 minutes. 33 pages. Freeland Publications.
“Venge
Art: Fascicle #6”
for narrator, musicians, actors, dancers, and culinary artists (Op. 55). Duration: ca.
35 minutes. 23 pages. Freeland Publications.
“Venge
Art: Fascicle #5”
for narrator, musicians, actors, dancers, and culinary artists (Op. 54). Duration: ca.
90 minutes. 102 pages. Freeland Publications.
“Music
is Dead,” a Paradox
in Fugue for SATB (Op. 53). Duration:
ca. 5 minutes. 22 pages. Freeland Publications.
“Trio:
After Darconville,”
in homage to novelist Alexander Theroux (author of Darconville’s Cat), for flute, viola,
and cello (Op. 52). Duration: ca.
12 minutes. 30 pages. Freeland Publications.
“Andante
in E Flat Major”
for piano. Duration: ca. 3 minutes. Unfinished.
Untitled
piece for piano
(unfinished).
Untitled piece in Eb Major for piano (in
progress).
2000:
“CEO’s
of HMO’s Do Fine”
for SATB (Op. 51); text by the composer.
Duration: ca. 30
seconds. 2 pages. Freeland
Publications.
“Never
Clever Born” for
SATB (Op. 50); text by the composer.
Duration: ca. 45
seconds. 2 pages. Freeland Publications.
“Venge
Art: Fascicle #4”
for narrator, musicians, actors, dancers, and culinary artists (Op. 49). Duration: ca.
75 minutes. 51 pages. Freeland Publications.
“Pornomusik:
Do-It-Yourself-Improvisation-Kit” for any combination of instruments (Op. 48). Duration:
variable. 44 pages of performance instructions and full-color comix (an
innovative new form of graphic notation
invented by the composer) with transparencies. Freeland Publications.
“Invertivention
No. 3” for piano
(unpublished).
“Invertivention
No. 2” for piano
(Op. 47, #2). Duration: ca. 45 seconds. 1 page. Freeland Publications.
“Invertivention
No. 1” for piano
(Op. 47, #1). Duration: ca. 45 seconds. 1 page. Freeland Publications.
“Andante
in F Minor” for
piano, four hands (Op. 46).
Duration: ca. 9
minutes. 34 pages. Freeland Publications.
1999:
“Venge
Art: Fascicle #3”
for narrator, musicians, actors, dancers, and culinary artists (Op. 45).
Duration: ca. 70
minutes. 42 pages. Freeland Publications.
“Venge
Art: Fascicle #2” for narrator, musicians, actors,
dancers, and culinary artists (Op. 44). Duration: ca. 60
minutes. 37 pages. Freeland Publications.
“Septet”
(“Frankenmusik”)
for clarinet, alto saxophone, French horn, two violins, double bass, and piano
(Op.
43). Duration: ca. 21 minutes. 102 pages. Freeland
Publications.
1998:
“Blues
Flash” for piano
(Op. 42). Duration: ca. 1 minute. 2 pages.
Freeland Publications.
“Obsequy” for piano, “in memoriam Ivan
Tcherepnin” (Op. 41, No. 5).
Duration: ca. 1 minute. 2
pages. Freeland
Publications.
“Blissonance” for piano (Op. 41, No. 4).
Duration: ca. 30”. 1 page.
Freeland Publications.
“Zigzagatelle” for piano (Op. 41, No. 3).
Duration: ca. 35”. 2 pages.
Freeland Publications.
“Choralude” for piano (Op. 41, No. 2).
Duration: ca. 45”. 2 pages. Freeland Publications.
“Splintermezzo” for piano (Op. 41, No. 1).
Duration: ca. 45”. 2 pages.
Freeland Publications.
“Aubade” for piano (Op. 40, No. 5).
Duration: ca. 2 minutes. 4 pages.
Freeland Publications.
“Doris-Daylude” for piano (Op. 40, No. 4).
Duration: ca. 30 seconds. 1 page. Freeland Publications.
“Quodlibet” for piano (Op. 40, No. 3). Duration: ca. 45”. 2 pages. Freeland Publications.
“Berfelgunk” for piano (Op. 40, No. 2).
Duration: ca. 30”. 1 page. Freeland Publications.
“Canonette
in G Minor” for
piano (Op. 40, No. 1). Duration: ca. 45 seconds. 2 pages. Freeland
Publications.
“Venge
Art: Fascicle #1”
for narrator, musicians, actors, dancers, and culinary artists (Op. 39).
Duration: ca. 45
minutes. 20 pages. Freeland Publications.
“Venge
Art: Performance Guidelines.” Consists of
legends, explications of symbologies, instructions on how
to interpret the scores, etc. 64 pages. Freeland Publications.
1997:
“Zorchgevunk” for piano (unpublished). Duration: ca. 6 minutes.
“Venge Art,” a “chamber novel” for narrator,
musicians, actors, dancers, and culinary artists, fascicles #1-#75. ca.
1300 pages. First completed drafts.
Duration: ca. 150
hours. Fascicles Nos. 16–75 in
progress.
1996:
“Seven
Piano Pieces”
(unpublished). Duration: ca. 5 minutes.
“Theme
and Variations in C major” for piano (unfinished).
1995:
“Theme
and Variations in E major” for piano (unfinished).
Duration: ca. 4 minutes.
1994:
“Grimprovisation” for piano (Op. 38). Duration: ca. 1 minute. 1 page. Freeland Publications.
“Treadmill” for clarinet and double bass (Op.
37a). Duration: ca. 7 minutes. 22 pages. Freeland Publications.
“Treadmill” for viola and double bass (Op.
37b). Duration: ca. 7 minutes. 22 pages. Freeland Publications.
“Women
Who Cry Apples,” a cycle of six songs on poems by
Joathan Swift for soprano, clarinet, violin & piano. The poems are titled: 1. “Apples,” 2. “Asparagus,” 3.
“Onions,” 4. “Oysters,” 5. “Herrings,” 6. “Oranges”
(Op.
36). Duration: ca. 13 minutes. 67 pages. Freeland Publications.
“Verborgenheit,” setting of poem by Eduard Mörike
for medium–high voice and piano (Op. 1, #11). Duration: ca.
4 minutes. 10 pages. Freeland Publications.
1993:
“Drink
to Me Only with Thine Eyes,” madrigal for soprano, alto, tenor, and bass (setting of poem,
“Song to Celia,”
by Ben Jonson) (Op. 35). Duration: ca. 3 minutes. 8 pages. Freeland
Publications.
“Prelude
in E Minor” for
harpsichord (Op. 34). Duration: ca. 4 minutes. 8 pages. Freeland Publications.
“The
Emancipate Metronoid,” for narrator and musical accompaniment (Op. 33). Duration: ca. 35 minutes. 7
pages, ca. 2,100 words. Freeland
Publications. Also published in
the Autumn 1994 issue of Denali (the Art and Literary
Magazine of Lane Community College, Eugene Oregon).
“String
Quartet No. 2” in
ten movements for two violins, viola, and cello. Titles of movements are: 1. “Zombie
Vigil,”
2. “Fughetta,” 3. “Sourcasm,” 4. “Nag Rack,” 5. “Swing Shift,” 6.
“Invertimento,” 7. “Polyester Fugue,” 8.
“Amerikan Bozo Dance, “ 9. “Pipe Dream,” 10. “Also Sprach Marginman” (Op.
32). Duration: ca. 50 minutes.
81
pages. Freeland Publications.
“Mortesque” for piano: in memoriam Steven Albert (Op. 31).
Duration: ca. 1’30”. 2 pages.
Freeland Publications.
“The
Well-Tempered Bone Box” for narrator and musical accompaniment (Op. 30). Duration: ca. 40
minutes. 7 pages, ca. 2,400 words. Freeland Publications. Also published
in the Winter 1995 issue of Denali and in the Berkeley
Fiction Review (1996).
“Quaalude,
Tabloid & Bug,”
three pieces for piano and junk (Op. 29). "Quaalude" and
"Bug" are graphically scored
for piano and “junk” while "Tabloid" is conventionally notated for
piano solo. Duration: variable (ca. 20-40 minutes). 53 pages. The requirements of this piece prompted the invention of an
instrument called the “Nolander,” which
consists of hat racks from which are suspended various children’s toys, pots
and pans (makeshift percussion instruments),
stuffed animals that make noises, etc. Freeland Publications.
“Delight
in Disorder,”
madrigal for soprano, alto, and tenor (setting of poem by Robert Herrick) (Op.
28). Duration:
ca. 2 minutes. 4 pages. Freeland Publications.
“Symphony” in one movement for chamber
orchestra. Duration: ca. 8 minutes. Unfinished.
1992:
“The
Utoplification Processor,” chamber novella for narrator and ad hoc variable ensemble (Op.
27). Duration: ca. 5 hours. 66 pages, ca. 18,500
words.
“The
Melancholic Moneymonger” for piano (Op. 26).
Duration: ca. 1
minute. 2 pages. Freeland Publications.
“The
Broom Brigade” for
piano (Op. 25). Duration: ca. 45 seconds. 2 pages. Freeland Publications.
“Fantasy
in E Minor” for
cello and piano (Op. 24). Duration: ca. 13 minutes. 46 pages. Freeland Publications.
1991:
“Nerdfox
Rag” for piano (Op. 23). Duration: ca. 4 minutes.
10 pages. Freeland
Publications.
“Prelude
and Zootrot” for solo piano and "a domesticated
and/or exotic melange of quadruped and/or winged creatures (large and small)" (Op. 22). Duration: ca. 4 minutes.
9 pages. Freeland
Publications.
“The
Pipsqueak Scrolls”
for narrator and ad hoc variable ensemble (Op. 21). Duration: ca. 90 minutes.
20 pages,
ca.
5,200 words. Freeland
Publications. Also published in
the Fall 1991 issue of the Portland Review.
“Jagdlied,” a chamber novella for narrator and
ad hoc variable ensemble (Op. 20). Duration: ca. 4 hours. 67 pages, ca. 20,620 words. Freeland
Publications. New edition (2004).
1990:
“Four
Heine Lieder,”
settings of four poems by Heinrich Heine for soprano and piano (Op. 19). The
poems are: 1.
“Aus meinen Thränen spriessen,” 2. “Im wunderschönen Monat Mai,” 3. “Und wüssten’s die Blumen...,” 4. “Ein Fichtenbaum
steht einsam.” Duration: ca. 9
minutes. 20 pages. Freeland
Publications.
“Intermezzo”
for violin and
piano (Op. 18). Duration: ca. 7 minutes. 28 pages. Freeland Publications.
“Deformed
Fugue” for
harpsichord (Op. 17).
Duration: ca. 3
minutes. 4 pages. Freeland Publications.
“Teatime
in Purgatory” for
narrator, piano improviser and pantomimists (Op. 16). Duration: ca 4 hours, 30 minutes. 90 pages, ca. 21,000 words.
1989:
“Grande
Rag Brillante” for
piano (Op. 15). Duration: ca. 15 minutes. 46 pages. Freeland Publications.
“Six
Lurid Albumblatts”
in “pictographic” notation for 1-1000 players (Op. 14). Duration: variable. 14 pages. Freeland Publications. The pieces are titled as follows: 1. "Prophet Clown," 2.
"Psychlopean Omelette," 3. "Fishwife
Before Dawn," 4. "Brobdingnagian Left Hands Chasing Nude," 5.
"Fish-Husband Fressing," 6."Wall Angst."
“Fugue
in G major” for
string quartet (Op. 13).
Duration: ca. 3 minutes. 8
pages. Freeland Publications.
“String
Quartet No. 1” in
four movements (Harvard University Dissertation, Op. 12). The movements are
titled as follows: 1. Introduction, 2. Adagio, 3. Waltz,
4. Fugue. Duration: ca. 90 minutes. 188 pages. Freeland Publications.
Also published by UMI.
1988:
“Ragbones” for piano (Op. 11). Duration: ca. 5 minutes. 8 pages. Freeland Publications.
“Twenty
Piano Pieces,” a
collection of mostly solo piano pieces that includes one song
(“Verborgenheit”), a dance
sequence, and wind-up rodents delivered from behind stage (Op. 1). The pieces
are titled as follows: 1. “Praeludium,”
2. “Bagatelle,” 3. “Ragatelle,” 4. “Sourcasm,” 5. “Tempest,” 6. “Waltz,” 7.
“Nocturne,” 8. “Schmaltz,”
9. “Reveille,” 10. “Etude,” 11. “Verborgenheit,” 12. “Adagietto,” 13. “Anthem,”
14. “Fughetta,” 15. “Invention,”
16. “Presto,” 17. “March,” 18. “Collage,” 19. “Chord,” 20. “Burlesque.”
Duration: ca. 48 minutes. 128
pages. Freeland Publications.
1987:
“Romance” for viola and piano (Op. 10).
Duration: ca. 7 minutes. 20 pages. Freeland Publications.
“Humoresque” for piano (Op. 3). Duration: ca. 7 minutes. 20 pages. Freeland Publications.
Untitled
piece in G flat
major for piano (unfinished).
Duration: ca. 6 minutes.
“Also
Sprach Marginman”
for piano (unpublished).
Duration: ca. 3 minutes.
1986:
“My
God, Why hast Thou Forsaken me?,” setting of text from Psalm 22 for two voices (S,A or T,B)
(Op. 9). Duration: ca. 3 minutes.
6 pages. Freeland
Publications.
“Six
and a Half Pieces for Piano” (Op. 8). The titles of the pieces are as follows: 1. “Allegro,” 2. “Kirchnerism,”
3. “Sinfonia,” 4. “Allemande,” 5. “Canon,” 6. “Proverb,” 6 1/2. “A-eeet-a
Garrrlic-a!” (“Eat Garlic!” with
a Sicilian accent). Duration: ca.
18 minutes. 34 pages. Freeland Publications.
“I
Dare not Ask a Kiss,”
setting of poem by Robert Herrick for medium voice and harpsichord (Op.
7). Duration:
ca. 3 minutes. 3 pages. Freeland Publications.
“Birchermuesli,” "cereal music" for string
quartet (Op. 6). Duration: ca. 6 minutes. 16 pages. Freeland Publications.
“Russell
Street Rag” for
piano (Op. 5). Duration: ca. 4 minutes. 6 pages. Freeland Publications. First page
of
score also published by the Berkeley Historical Society in Tales from the
Elmwood.
“Hollywood
Elegies,” setting
of two poems by Bertolt Brecht (translated into English by John Willett) for soprano
and piano (Op. 2). The poems
are: 1. “Above the four Cities,”
and 2. “The Angels of Los Angeles.” Duration: ca. 4 minutes. 8 pages. Freeland Publications.
“Three
Chorales” for SATB
(unfinished). Duration: ca. 3
minutes.
1985:
“Viennese
Nightmare Rag,” a
ragtime extravaganza for solo piano (Op. 4). Duration: ca. 7 minutes. 20 pages. Freeland
Publications.
“Nocturne
in B flat Major”
for piano (unpublished).
Duration: ca. 5 minutes.
“Allegro
in A Major” for
piano (unfinished).
“Minuet” for clarinet, violin, cello and
piano (unfinished).
“Waltz
in G flat Major”
for piano (unfinished). Duration:
ca. 3 minutes.
“Sonata
Tango” for piano
(unfinished). Duration: ca. 9
minutes.
Untitled.
Experimentation
in Harvard’s electronic analog/digital studio with fragments of random radio
broadcasts superimposed
atop multitrack DX7 extemporizations.
“Inferno.”
Digital/analog
piece created at Harvard’s Electronic Studio. Duration: ca. 30 minutes.
Miscellaneous
works created at
Harvard’s Electronic Studio. Serge and Buchla improvisations, pitch-transposed piano
improvisations, and numerous other pieces.
1984:
Untitled piece for piano (in D minor). Unfinished. Duration: ca.
12 minutes.
“Opinionations,” recorded four-track improvisation
on the Yamaha DX7. Duration: ca. 3 minutes.
“Pinball
Ecstasy,” recorded
four-track improvisation on the Yamaha DX7. Duration: ca. 3 minutes.
“Minuet,” Buchla-Serge sequences, musique
concrete with piano
improvisations. Duration: ca. 30 minutes.
1982:
“Fugue
in G Major” for
string orchestra (later published in arrangement for string quartet: Op.
13). Duration: ca.
3 minutes.
1981:
Untitled piece for violin and piano
(unfinished).
1980:
“Fantasy
in G Major” for
piano (unpublished). Duration: ca.
13 minutes.
1979:
“Concert
Waltz in A Major” for
piano (unpublished). Duration: ca.
15 minutes.
1978:
“Fugue
in C major” for
keyboard. Duration: ca. 3 minutes.
1977:
“Fugue
in A Major” for
keyboard (unpublished). Duration:
ca. 2 minutes.
“Fugue
in E flat Major”
for keyboard (unpublished).
Duration: ca. 3 minutes.
“Rondo
in B flat major“
for piano (unpublished) Duration: ca. 3 minutes.
1976:
“Piano Sonata in C Major” in three movements
(unpublished). Duration: ca. 12
minutes.
1974:
“Golden
Gate Rag” for piano
(unpublished). Duration: ca. 4 minutes.
1972–1974:
Miscellaneous juvenilia.