Uploaded July 2026 | Updated September 2026, 2 weeks ago
BBC Philharmonic Orchestra conducted by George Lloyd.
I - Con brio: 0:00
II - Largo: 8:12
III - Alla marcia: 18:39
IV - Andante, con malinconico: 23:30
Lloyd's Symphony No.2 was finished in March 1933, being revised much later in 1982. The first three movements were performed in March 1933, played by the Eastbourne Municipal Orchestra conducted by the composer. The first complete performance was given in January 1986 by the BBC Philharmonic Orchestra conducted by the composer, this recording being made a few days later.
Lloyd’s Second Symphony is a remarkable achievement for a 19-year-old. In terms of structure, it’s loosely based on Tchaikovsky’s Sixth, with its peppy third-movement march (its tune fully worthy of the great Russian composer) and melancholy finale (bluesy rather than hysterically despairing). More importantly, the work shows Lloyd fully in command of his own personal idiom. The orchestration is brilliant without resorting to special effects or extras. The symphony is one of Lloyd's most harmonically "modern" works in that it uses polytonality (simultaneous sounding of instrumental voices in different keys), a device he rarely used thereafter.
The first movement is structured as a sonata-rondo. It begins with a rhythmic and exhilarating main theme, shared between strings and brass. It is contrasted by a graceful and dance-like second theme introduced by oboe and pizzicato strings. The third theme is vigorously joyful and animated, with a braying Mahlerian horn-call. The ensuing development features fragments of the material, combining and transforming them while modulating through keys and engaging in rhythmic and dynamic variance. The themes are then recapitulated in a varied way, before a forceful and assertive coda closes the con brio.
The second movement is written as a theme and variations. After an evocative introduction dominated by the horn, a widely lyrical and expressive main theme is introduced by clarinets, then taken by strings. The material is then unfolded in a series of variations, initially being sinuous and darkly-coloured, underpinned by increasingly chromatic harmony. A more rhythmic and agitated passage in the central part is followed by an ornate, arabesque-style writing for solo first violin. A passionate and expressive climax is reached near the end, before the largo ends with a longing diminuendo coda.
The third movement is written in ternary form, resembling a scherzo in spirit. It begins with a rhythmic and march-like idea being introduced, before strings fully expose it as a determined and life-affirming main theme in form of a march. The rhythms become increasingly varied and complex. The central section features a melodic second theme introduced by woodwinds, vaguely resembling of Elgar. The main material then returns, before a crescendo leads to a brilliant climax on the second theme. The alla marcia then ends with a grand flourish.
The fourth movement opens with a brooding and enigmatic introduction, before the English horn presented a main theme possessing the same qualities. It passes onto clarinet and then strings, turning much more passionate and richly scored as it unfolds. The brass then introduces a noble and solemn second theme. Themes and ideas from previous movements are quoted in the following development, in which polytonality is employed. The most notable instance of the latter is the quotation of the alla marcia main material on piccolo. The music reaches an imposing climax enhanced by the brass, which also begins the recapitulation of the main themes. A final dissonant outburst leads to a poetic fade-out coda.
Picture: "View of a city" (1944) by the Dutch painter Carel Willink.
Musical analysis partially written by myself. Sources: tinyurl.com/2ymhdyba and tinyurl.com/2cfmwx6k
Unfortunately, the score isn't freely available.
BBC Philharmonic Orchestra conducted by George Lloyd.
I - Con brio: 0:00
II - Largo: 8:12
III - Alla marcia: 18:39
IV - Andante, con malinconico: 23:30
Lloyd's Symphony No.2 was finished in March 1933, being revised much later in 1982. The first three movements were performed in March 1933, played by the Eastbourne Municipal Orchestra conducted by the composer. The first complete performance was given in January 1986 by the BBC Philharmonic Orchestra conducted by the composer, this recording being made a few days later.
Lloyd’s Second Symphony is a remarkable achievement for a 19-year-old. In terms of structure, it’s loosely based on Tchaikovsky’s Sixth, with its peppy third-movement march (its tune fully worthy of the great Russian composer) and melancholy finale (bluesy rather than hysterically despairing). More importantly, the work shows Lloyd fully in command of his own personal idiom. The orchestration is brilliant without resorting to special effects or extras. The symphony is one of Lloyd's most harmonically "modern" works in that it uses polytonality (simultaneous sounding of instrumental voices in different keys), a device he rarely used thereafter.
The first movement is structured as a sonata-rondo. It begins with a rhythmic and exhilarating main theme, shared between strings and brass. It is contrasted by a graceful and dance-like second theme introduced by oboe and pizzicato strings. The third theme is vigorously joyful and animated, with a braying Mahlerian horn-call. The ensuing development features fragments of the material, combining and transforming them while modulating through keys and engaging in rhythmic and dynamic variance. The themes are then recapitulated in a varied way, before a forceful and assertive coda closes the con brio.
The second movement is written as a theme and variations. After an evocative introduction dominated by the horn, a widely lyrical and expressive main theme is introduced by clarinets, then taken by strings. The material is then unfolded in a series of variations, initially being sinuous and darkly-coloured, underpinned by increasingly chromatic harmony. A more rhythmic and agitated passage in the central part is followed by an ornate, arabesque-style writing for solo first violin. A passionate and expressive climax is reached near the end, before the largo ends with a longing diminuendo coda.
The third movement is written in ternary form, resembling a scherzo in spirit. It begins with a rhythmic and march-like idea being introduced, before strings fully expose it as a determined and life-affirming main theme in form of a march. The rhythms become increasingly varied and complex. The central section features a melodic second theme introduced by woodwinds, vaguely resembling of Elgar. The main material then returns, before a crescendo leads to a brilliant climax on the second theme. The alla marcia then ends with a grand flourish.
The fourth movement opens with a brooding and enigmatic introduction, before the English horn presented a main theme possessing the same qualities. It passes onto clarinet and then strings, turning much more passionate and richly scored as it unfolds. The brass then introduces a noble and solemn second theme. Themes and ideas from previous movements are quoted in the following development, in which polytonality is employed. The most notable instance of the latter is the quotation of the alla marcia main material on piccolo. The music reaches an imposing climax enhanced by the brass, which also begins the recapitulation of the main themes. A final dissonant outburst leads to a poetic fade-out coda.
Picture: "View of a city" (1944) by the Dutch painter Carel Willink.
Musical analysis partially written by myself. Sources: tinyurl.com/2ymhdyba and tinyurl.com/2cfmwx6k
Unfortunately, the score isn't freely available.
