Anthony Goldstone and Caroline Clemmow
Kathryn Stott
Martin Roscoe
LYRITA SRCD.2423
To those unfamiliar with George Lloyd’s music or biography, the difficulties and reverses that he suffered, both personal and professional, recall another composer of the previous generation, Ivor Gurney. However, Lloyd was more fortunate and despite the considerable problems he faced, produced an astonishing body of work which is still too little known.
As a violinist, he was inevitably more drawn to stringed instruments rather than the keyboard and did not compose his first work for piano until he was 53. He had by this time composed his first piano concerto, Scapegoat for John Ogden, at the urging of his wife, who had been brought up listening to the great pianists of that era such as Alfred Cortot. The experience seems to have freed Lloyd from his earlier aversion to writing for the piano, and in all he wrote 4 concertos for the instrument.
The earliest of his solo pieces An African Shrine (1966) was also written for Ogden and he both broadcast and recorded it for EMI. This is twentieth century British music at its most approachable. It is in the form of six linked sections with three recurring themes and lasts for 23 minutes. The variety of invention is remarkable and the performance by Martin Roscoe leaves nothing to be desired, being both committed and technically flawless.
The Aubade (1971) for piano duo is another substantial work in eight sections lasting almost 38 minutes. In this case the mood is lighter. An African Shrine was inspired by the tumultuous history of that continent and the suffering of its people. The Aubade was intended to be entertaining while exploring all the sonorities of which the chosen medium was capable.
Again, written for John Ogden but also his wife, Brenda Lucas, it is a series of highly characterised pieces which do not outstay their welcome. The varieties of mood and texture sweep the listener along almost without effort. Except, perhaps, on the part of the executants. The demands made by this apparently light music are formidable, but the long-established partnership of Anthony Goldstone and Caroline Clemmow never makes this obvious.
This is a delightful recording beautifully played and despite the fact that the recordings are of varying ages, the quality is uniformly excellent. Grouping all Lloyd’s music for piano and piano duo is most useful, and Lyrita are to be commended for their commitment to releasing the complete recordings in a uniform edition in the course of this year.
Review by Martyn Strachan