Lloyd: Piano Concerto 1 & 2

 

George Lloyd's first two piano concertos find the composer at his most surly and explosive.

Surprising for a tonal, melodic composer, whose music prefers to delight and uplift. This era in the composer's musical growth, however, shows a shift in his musical output, moving towards seriousness and inner turmoil.

Both concertos are one-movement affairs, although in their 30-minute lengths, they are divided into different musical sections. The original Albany recording sets each concerto on just one track, while the Lyrita reissue divides them across multiple tracks, highlighting the differing sections.

Some rather angular string lines, amidst orchestral stabs, clue the listener in to George Lloyd's new dour musical landscape. The tempo markings divide Piano Concerto no. 1, titled Scapegoat, into emotionally charged sections; emphatico, violente, and agitato are some of the examples. Indeed, this concerto sounds like it comes from a completely different composer compared to his symphonies. Occasionally, the piano will sweep away into large, Rachmaninov-esque gestures, but overall, one could almost call this music spiky.

In the second section, of five, the banter between piano and brass is pronounced, giving an almost ancient feel to their musical repartee. The third section Scherzo sounds more transitional to my ears, but there are hints of happier times here, an aspect rare so far in the Second Piano Concerto.

Any such hints are dashed with the explosion of sounds at the opening of the fourth section, with dissonant brass stabs keeping the music edgy. In these last two portions I hear snatches of a Gershwin-flavored motoric jazzy-ness, an unusual contrast to what has come before. The final section bears a harmonic uncertainty as to how it wants the concerto to conclude. In the end, it chooses a rather gentle path, albeit not a particularly satiating conclusion; a most unexpected choice from the composer.

Piano Concerto no. 2 opens in a forward-moving, serious mood as well. It swirls and stabs endlessly, setting the stage for another moody work. Luckily, its second section varies with a march-like feel, although this aspect is rather wry and sardonic, akin to Shostakovich. The application of winds, brass, and percussion is particularly characterful here as well, contrasted with some rather dissonant piano musings.

The short third section is the only bit of atmospheric repose afforded by the composer, although still maintaining a goodly amount of melancholy bolstered by a plaintive oboe. The final portion hints at lighter stuff, although the piano seems reticent to move on to anything less than the serious minded. Sweeps of Romanticisms are more apparent, though, even if the final chords remind the listener of their resistant musical journey.

These piano concertos were written with British pianist John Ogdon in mind, a monster virtuoso at the keyboard. One can understand the extrovert nature of these works with such a lion of the piano as George Lloyd's advocate. As far as I know, Ogdon never recorded these works, only performing radio broadcasts, so here we have Martin Roscoe with the BBC Philharmonic with the composer at the podium, all from the 90s.

Neither of these concertos are difficult, at least considering my occasional wording of dissonant and angry. Rather, it shows a new side to the composer, one with some inner turmoil not always at the forefront of George Lloyd's music. Many will appreciate the change.

 

 

 

Works
Piano Concerto 1 'Scapegoat' (25.20)
Piano Concerto 2 (32.50)

Soloists
Martin Roscoe

Performers
BBC Philharmonic Orchestra
George Lloyd, conductor

Label: Albany
Year: 1991

 

 

 

 

Find more Lloyd recordings HERE!