George Lloyd
Aubade (1971)a; Eventide (1989)a; The Road Through Samarkand (1995)a; The Lily-leaf and the Grasshopper (1972)b; The Transformation of that Naked Ape (1972, rev. 1987)c; Lullaby ‘Intercom Baby’ (1975, arr. 1987)c; An African Shrine (1966)c; The Aggressive Fishes (1972)c; St. Antony and the Beggar (1972)c. The Road Through Samarkand (1972)c

Kathryn Stott (b), Martin Roscoe (c) (pianos)
Anthony Goldstone and Caroline Clemmow (a) (piano duo)

Lyrita SRCD.2423 (two discs, 70’16” and 77’55”)
Producers bcHoward Devon, aAnthony Goldstone and Caroline Clemmow with George Lloyd Engineers bcHoward Devon, aAnthony Goldstone and Caroline Clemmow with George Lloyd

Recorded ^b2 June 1987 at Henry Wood Hall, London; ^c18 & 19 June 1987 at St. Barnabas, North Finchley, London; ^a4 & 5 November 1996 at St. John the Baptist, Aldeburgh

Reviewed by Richard Whitehouse

What’s the story?

Lyrita continues its ‘Signature Edition’ of music composed (and conducted) by George Lloyd with his works for one and two pianos, admirably performed here by a line-up of international stature including those pianists who recorded his concertos for this instrument (SRCD.2421).

What’s the music like?

As Lloyd himself recounted, training as a violinist rather prejudiced his writing for the piano, despite his wife’s prompting. It was hearing the young John Ogdon in the early 1960s that led to Scapegoat, this first piano concerto being followed by three others and several other works for piano over the ensuing decade. For all their diversity of inspiration, they have in common a determination to avoid wanton virtuosity in favour of a technical precision as never inhibits their composer’s aim to realize his musical intentions – whether idiomatically or individually.

This is evident in Lloyd’s earliest and arguably finest work for solo piano, An African Shrine. Written for Ogdon, who played it regularly and recorded in his 1970 EMI anthology Pianistic Philosophies, this takes in several sections – the vividness of whose expressive contrasts are balanced by the seamlessness with which they merge into an unbroken formal continuity. As an evocation of mindless violence, it is highly affecting and its cohesion as a one-movement ‘sonata’ makes for an indispensable addition to British piano music during the post-war era.

Lloyd followed this with the even more expansive Aubade, composed for Ogdon and his wife Brenda Lucas. Described as a ‘fantasy’, its eight sections outline a dream-like scenario which takes in charcoal burners, tin soldiers, a song then dance for two lovers, a medley of bells and chants, then moths; framed by an Introduction and Finale as set the scene thematically then sum it up unerringly. Enticingly realized for its medium if too diffuse overall, this would likely enjoy wider exposure if it were shortened and orchestrated as the ballet it cries out to become.

The year 1972 saw Lloyd immersed in the solo piano. Among these shorter pieces, The Road Through Samarkand is the most directly appealing with its amused if never sarcastic send-up of Krishna adherents in central London with many taking the journey from Calais to Calcutta, though whether the outcome is one of utopianism or disillusionment is left unanswered by the peremptory close. St Anthony and the Beggar is a direct corollary to the Biblical parable, here with an outcome of demonstrable catharsis, while The Aggressive Fishes evokes the allure yet danger of certain tropical species in music alternately atmospheric and ominous. Inspired by a citing from the banks of the Avon, The Lily-Leaf and the Grasshopper is a subtler interplay of contrasts – the insect’s quizzical demeanour emerging out of then back into a rapt waterscape.

The most substantial of these later pieces is The Transformation of the Naked Ape. Taking its cue from Lloyd’s consideration of the essential difference between animals and humans, these six movements (each longer than the last) deftly outline a progression from external to internal properties – hence from Her Hair, via those of Tongue, Eyes, Brain and Mind, to Her Soul – though any inference of increasing spirituality is scotched by the capricious final number of this highly diverting sequence, in which pleasure and provocation have been pointedly elided.

Lloyd wrote little more for piano in either medium, though his arrangement of the violin-and-piano Intercom Baby 12 years on as Lullaby turned one of his most ingratiating shorter pieces into this ideal encore – wistful and playful by turns. Drawing on a carol written when he was just ten (then used extensively in his opera John Socman), Eventide emerges as a fantasy on this tune such as adumbrates a journey from innocence to experience of deceptive simplicity and has enjoyed greater exposure in a no less effective arrangement for brass band two years on. Finally, The Road Through Samarkand makes its reappearance arranged for two pianos – the inherent virtuosity of its writing more equably realized in this medium if, as is suggested here, those elements of struggle and assumed repose more potently realized by the original.

Does it all work?

Almost always. There is a sense of this music (rather its composer) fighting against precedent as regards idiomatic piano writing, for all that the outcome feels never less than effective and often much more so. The performances are highly sympathetic and often inspired – particularly Kathryn Stott with her contributions, though Martin Roscoe affords no mean insight and lucid pianism with his larger selection. The duo of Anthony Goldstone (much missed) and Caroline Clemmow is heard to impressive effect, but sound here could do with rather greater definition.

Is it recommended?

It is. Paul Conway’s annotations feature many pertinent observations, while the solo items are recorded with ideal clarity and spaciousness. Not the first port-of-call for those new to George Lloyd, maybe, but a collection where several items warrant inclusion in the modern repertoire.

Listen & Buy

For further information visit the dedicated page for the George Lloyd Signature Series. For more on the composer himself, head to the George Lloyd website, while for more on the artists click on the names to read about Martin Roscoe, Kathryn Stott and the Anthony Goldstone & Caroline Clemmow duo.

Published post no.2,248 – Tuesday 23 July 2024