Lloyd: Symphony 11

 

Lloyd's five-movement, 60-minute symphony begins with an orchestral braying opposite trenchant bass patterns reminiscent of the opening of John Williams' Superman title music.

Thus, the opening movement of Symphony no. 11 bandies between sweeping Romanticism and cinematic moodiness. While there are strong themes here, I think I have come to the realization that Lloyd is generally more concerned with orchestral color rather than thematic devices; and there is a riot of color here.

This means the 18-minute first movement is more sectionalized, a common feature in these later, longer symphonies. It provides the listener with a lot of varied material, although the success of its structural qualities will rest upon the listener, at least as far as cohesiveness is concerned. And as always, Lloyd's writing for large percussion, wind, and brass sections gives the composer many possibilities for endless forms of orchestral dramatics.

The second movement is built upon a long-breathed, undulating violin-section concept, and beautiful it is. The overall mood is more heartfelt than it is melancholic, often with aching pastoral beauty. The brass interject towards the end, only to reinforce a climax, building upon what came before. Otherwise, this is primarily string-centered music, not a common feature for Lloyd.

The center of the Eleventh Symphony is a perky Scherzo, a favorite setting from the composer. The musical action slows a little bit for some tinkly, Berceuse-style jaunts, which almost threatens to launch into a dashing waltz at one of its later appearances. This portion finds Lloyd at his very best, showcasing his evident glee in music making!

An insistent, background drum underlines the fourth movement's hymn-like start. It is only when the full orchestra comes together that the drum's menacing portents begin to arrive into this music. That said, the promise of an encroaching darkness is never allowed to fully realize its potential, in favor of meandering lyrical musings.

British pomp opens the final movement, although the initial harmonic direction refuses to be completely satisfying, nor expected. Lloyd uses the opening brass statements to litter this last 15-minute portion of the symphony, reminding listeners through short toots and squawks throughout. I could see listeners getting lost in Lloyd's lengthy outer movements, yet with the sheer variety of musical material in each, there is much to enjoy regardless.

For George Lloyd's penultimate symphony, the composer is once again at the helm of the Albany Symphony Orchestra. What advocacy from this orchestra and recording label! I doubt we could ever imagine finer; and with such excellence, I doubt anyone will go back to the well anytime soon.

 

 

 

 

Works
Symphony 11

Performers
Albany Symphony Orchestra
George Lloyd, conductor

Label: Albany
Year: 1987
Total Timing: 59.00

 

 

 

 

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