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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.
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Like it was written by George Santos
Received an Advanced Reader Copy from a friend. I am an avid true crime reader and upon completion I question if the author is credible. The timeline does not add up for his age and the times of his alleged involvement in organized crime. Some of the things in the book he is alleged to have said and done I remember almost word for word from movies I had previously watched. He literally stole a scene from the movie the accountant with Ben Affleck and said that he did it. I did a little research after completing the book and learned that this author was also claiming in 2010 that he was a long time member of the Bloods Gang. That coupled with the above leads me to believe that it is nothing more than fantasy. Do not waste your time or money
Like it was written by George Santos
Received an Advanced Reader Copy from a friend. I am an avid true crime reader and upon completion I question if the author is credible. The timeline does not add up for his age and the times of his alleged involvement in organized crime. Some of the things in the book he is alleged to have said and done I remember almost word for word from movies I had previously watched. He literally stole a scene from the movie the accountant with Ben Affleck and said that he did it. I did a little research after completing the book and learned that this author was also claiming in 2010 that he was a long time member of the Bloods Gang. That coupled with the above leads me to believe that it is nothing more than fantasy. Do not waste your time or money
What a difficult story to tell. I appreciate the honesty and vulnerability. Definitely made me think.
I had hopes for this book but was not expecting what I would read within the pages. If your kink is deplorable grammar, incoherent sentences, and inconsistent messages, then this book is for you. At first, I thought the book I received was not the book I ordered. But as I dived in, it was very confusing. I would not recommend this book to anyone
There are not many reviews on the internet for this book. In researching the many stores selling the book, it was self-published which makes a lot of sense. The online description is written perfectly, so reading the actual book was very difficult. Pages two and three are written clearly as well as the table of contents. Pages 155 and 156 are also written logically.
It appears this book was written, then sent through a program like “Grammarly.” Once completed it seems it was published without being re-read or edited. The first clue was the title narrative that used “Has” instead of “As.” The table of contents is one page off from what it shows on pages four though seven. Many of the “q’s” are written as “[]”
Below are some examples of what was within the pages of this book written verbatim:
“Chains & Discipline/ Domination & entry/ Sadism & Masochism (BDSM) is a wide classification of bed room play.” Page 9
“When bringing up the topic of chains, you are actually asking a person to offer you their depend on, their flexibility, and also possibly their suggestion of security in exchange for sensual/sexual enjoyment, power-play, and also feasible re-evaluation of your very own connection.” Page 39
“Techni[]ue can take a selection of kinds and also be as easy or facility as you pick to (new paragraph) bargain for your details scenario” Page 52
“BDSM stands for chains as well as entry, technique and also supremacy as well as sadism and also masochism.” Page 125
“SHELF means Risk Aware Consensual Kink.” Page 130
“Approval is whatever.” Page 152
“your twist isn’t my twist, yet your twist is OKAY.” Page 153
“You can be a top, base, or button” Page 153
Good service, good book. Just what I was looking for! Thank you!