COMPOSITIONS

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.