George Lloyd's Third Concerto for piano begins similarly to his two previous. Violent orchestral stabs amidst motoric piano menacings, suggesting another harrowing musical experience.
About a minute into the concerto, however, a martial fanfare figure appears, eventually reminding me of 'We're in the Army Now'. This is not a theme which portends fate, but rather more in the vein of something from Victor Herbert, with possibilities of lightheartedness.
Thus, Piano Concerto no. 3 thankfully sets itself apart from the heavy listening of his earlier piano concertos. The first movement is still rather serious, but I sense a playfulness amongst its motive, which is aptly put through the wringer throughout its course. It certainly sustains the attention of this listener, and this might be my favorite so far with the composer writing for the keyboard and orchestra.
The work as a whole is on a large scale, timing at nearly
50 minutes. This gives the concerto more of a symphonic breadth, but
again, there is that militaristic idea which is carried across its
runtime, allowing Lloyd to really explore and develop his ideas,
without unduly weighing down the listener.
The second movement is rather moody and atmospheric at its ope, and at nearly 20 minutes in length, cogently contrasts the boisterous outer movements. The dour mood also allows the piano some Rachmaninov-ian musings while the orchestral sustains beneath.
At the center of the middle movement, the mood lightens some, becoming almost pastoral in its orchestration. Bringing the listener full circle, Lloyd incorporates a small reminder of the fanfare idea as well, before sending off the listener to the uncertainty of the opening material from this movement.
Lloyd judiciously begins the third movement with the uncertainty of the second movement before launching fully into a rhythmic character which will pervade the conclusion. Once again, those fanfare statements are figured into the music, although in a different form. The music grows more complex as it approaches its final moments, perhaps suggesting Lloyd isn't quite as eager to move on from these gloomy, sometimes violent, tones.
For George Lloyd's later two piano concertos, Kathryn Stott takes over at the keyboard, and she is a strong player in this music, as is required in his music. Overall, I enjoyed Piano Concerto no. 3 quite a bit, at least compared to what he wrote in the genre before it, and despite its portly runtime.
The second movement is rather moody and atmospheric at its ope, and at nearly 20 minutes in length, cogently contrasts the boisterous outer movements. The dour mood also allows the piano some Rachmaninov-ian musings while the orchestral sustains beneath.
At the center of the middle movement, the mood lightens some, becoming almost pastoral in its orchestration. Bringing the listener full circle, Lloyd incorporates a small reminder of the fanfare idea as well, before sending off the listener to the uncertainty of the opening material from this movement.
Lloyd judiciously begins the third movement with the uncertainty of the second movement before launching fully into a rhythmic character which will pervade the conclusion. Once again, those fanfare statements are figured into the music, although in a different form. The music grows more complex as it approaches its final moments, perhaps suggesting Lloyd isn't quite as eager to move on from these gloomy, sometimes violent, tones.
For George Lloyd's later two piano concertos, Kathryn Stott takes over at the keyboard, and she is a strong player in this music, as is required in his music. Overall, I enjoyed Piano Concerto no. 3 quite a bit, at least compared to what he wrote in the genre before it, and despite its portly runtime.
Works
Piano Concerto 3
Soloists
Kathryn Stott, piano
Performers
BBC Philharmonic Orchestra
George Lloyd, conductor
Label: Albany
Year: 1989
Timing: 48.08
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