Listeners' Comments
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It seems that we have many ideas in common. I like the classical style very much and will continue to compose in this style too.
The opinion that all classical music has been written in the past I mus reject. Because there is still a universe of uncomposed pieces that you help to discover. As the director of our academy in Germany said. Mr. Sörup , you are just ahead of contempory music. Just keep on your way an they will follow you.
Submitted by chromatic on Tue, 11/24/2009 - 19:53.
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Classical Music | Piano Music
Gary Noland
"Le Charmeuse" (Op. 72, No. 21) from "24 Postludes" for piano Play
Recorded on 03/10/2006, uploaded on 07/09/2009
Musician's or Publisher's Notes
The "24 Postludes" for piano (Op. 72) were composed in 2003 and 2004. "Le Charmeuse" is Postlude #21.
More music by Gary Noland
"Russell Street Rag" for piano (Op. 5)
"The Mad Ventures of Marginman" (Op. 72, No. 16) from "24 Postludes" for piano
"Espresso Wagon" from "24 Interludes" for piano (Op. 71)
Liebesschmerz Fuge for piano (Op. 95)
"Deformed Fugue" for harpsichord (Op. 17)
"Honesty's the Best Fallacy" (Op. 72, No. 14) from "24 Postludes" for piano
"Misremembrances: in memoriam George Rochberg" (Op. 72, No. 23) from "24 Postludes" for piano
"Septet" for clarinet, alto sax, French horn, two violins, double bass, and piano (Op. 43)
"Boykh Vaitek" (Op. 72, No. 20) from "24 Postludes" for piano
"Gillygalay" (Op. 71, No. 2) from "24 Postludes" for piano
Performances by same musician(s)
"The Mad Ventures of Marginman" (Op. 72, No. 16) from "24 Postludes" for piano
"Espresso Wagon" from "24 Interludes" for piano (Op. 71)
Liebesschmerz Fuge for piano (Op. 95)
"Deformed Fugue" for harpsichord (Op. 17)
"Honesty's the Best Fallacy" (Op. 72, No. 14) from "24 Postludes" for piano
"Misremembrances: in memoriam George Rochberg" (Op. 72, No. 23) from "24 Postludes" for piano
"Boykh Vaitek" (Op. 72, No. 20) from "24 Postludes" for piano
"Gillygalay" (Op. 71, No. 2) from "24 Postludes" for piano
"Festmusik: Fanfaronades, Parades, and Escapades" for brass octet & tympani (Op. 77)
"Bead-Eyed Bellygods" (Op. 72, No. 13) from "24 Postludes" for piano
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