Uploaded July 2026 | Updated September 2026, 2 weeks ago
Albany Symphony Orchestra conducted by George Lloyd.
I - Introduction & Variations: Introduction. Vivace - Andante - Tempo I - Variation I. Tempo I - Variation II. Tempo I - Variation III. Poco meno - Variation IV. Poco meno - Variation V. Tempo I - (0:00) - Andante con fervore (8:22) - Vivace (13:29)
Lloyd's Symphony No.1 was composed between June and July 1932, with subsequent revisions. It was premiered in July of 1932, performed by the Penzance Orchestral Society, an amateur orchestra. Then in Spring of 1933 it was performed by the Bournemouth Symphony Orchestra conducted by the composer, a concert that catapulted the composer's career until his call to service in World War II. Written in a single movement that is subdivided in three sections, the piece is based on the principle of variation.
When Lloyd returned to the score around 1980, he decided to follow the same form for his last symphony, the twelfth, written in 1989. Set against the grand late-Romantic symphonic tradition prevalent in England at the time (as exemplified by the opulence of Bax, Bantock, Rootham and Boughton), the brevity, spiky humour and formal originality of this first symphonic essay appears even more strikingly individual. The language is post-romantic at a time romanticism was quickly going out of fashion against the avant-garde new trends.
The first movement begins with a rhythmic and assertive main theme on full orchestra, soon contrasted by a lyrical and cantabile second theme on clarinets. We return to the main theme before five brief variations begin. The first is a slight alteration of the main material, while the second variation is faster and more rhythmic. The third is focused on the second theme, first appearing on English horn before growing into a passionate climax. The fourth variation is expressive and voluptuous, with richly chromatic postromantic writting on strings. The fifth and final variation features a march-like transformation of the main theme, becoming bolder and more vigorous until reaching a powerful climax with brass and percussion. Then it directly links with the andante.
The second movement opens with the second theme from the first movement, passionately restated by strings. A peaceful pastoral landscape is created as the flutes take the material over sinuous strings, signalling the beginning of a development. Longing exchanges between instruments such as horns and cellos pave the way for an expressive recapitulation of the theme, culminating in a passionate climax enhanced by the brass. A serene transition then leads to the finale.
The third movement begins with a fugato based on the main theme, developed in a mixture of scherzo-rondo. Brass introduces a contrasting idea in form of a chorale, which is included in the ensuing contrapuntal development. The music becomes increasingly dissonant and restless, before a slower and more melodic passage offers some contrast. The fugato then continues and rises in a carefully worked crescendo. The contrasting elements are briefly recapitulated before a massive climax is reached on the main theme. Woodwinds then recapitulate the second theme, before a victorious coda ends the symphony triumphally.
Picture: "Venice" (1912) by the English painter Albert Goodwin.
Musical analysis partially written by myself. Sources: tinyurl.com/28vba95y, tinyurl.com/28pzaq4g and tinyurl.com/2ymhdyba
Unfortunately, the score isn't freely available.
Albany Symphony Orchestra conducted by George Lloyd.
I - Introduction & Variations: Introduction. Vivace - Andante - Tempo I - Variation I. Tempo I - Variation II. Tempo I - Variation III. Poco meno - Variation IV. Poco meno - Variation V. Tempo I - (0:00) - Andante con fervore (8:22) - Vivace (13:29)
Lloyd's Symphony No.1 was composed between June and July 1932, with subsequent revisions. It was premiered in July of 1932, performed by the Penzance Orchestral Society, an amateur orchestra. Then in Spring of 1933 it was performed by the Bournemouth Symphony Orchestra conducted by the composer, a concert that catapulted the composer's career until his call to service in World War II. Written in a single movement that is subdivided in three sections, the piece is based on the principle of variation.
When Lloyd returned to the score around 1980, he decided to follow the same form for his last symphony, the twelfth, written in 1989. Set against the grand late-Romantic symphonic tradition prevalent in England at the time (as exemplified by the opulence of Bax, Bantock, Rootham and Boughton), the brevity, spiky humour and formal originality of this first symphonic essay appears even more strikingly individual. The language is post-romantic at a time romanticism was quickly going out of fashion against the avant-garde new trends.
The first movement begins with a rhythmic and assertive main theme on full orchestra, soon contrasted by a lyrical and cantabile second theme on clarinets. We return to the main theme before five brief variations begin. The first is a slight alteration of the main material, while the second variation is faster and more rhythmic. The third is focused on the second theme, first appearing on English horn before growing into a passionate climax. The fourth variation is expressive and voluptuous, with richly chromatic postromantic writting on strings. The fifth and final variation features a march-like transformation of the main theme, becoming bolder and more vigorous until reaching a powerful climax with brass and percussion. Then it directly links with the andante.
The second movement opens with the second theme from the first movement, passionately restated by strings. A peaceful pastoral landscape is created as the flutes take the material over sinuous strings, signalling the beginning of a development. Longing exchanges between instruments such as horns and cellos pave the way for an expressive recapitulation of the theme, culminating in a passionate climax enhanced by the brass. A serene transition then leads to the finale.
The third movement begins with a fugato based on the main theme, developed in a mixture of scherzo-rondo. Brass introduces a contrasting idea in form of a chorale, which is included in the ensuing contrapuntal development. The music becomes increasingly dissonant and restless, before a slower and more melodic passage offers some contrast. The fugato then continues and rises in a carefully worked crescendo. The contrasting elements are briefly recapitulated before a massive climax is reached on the main theme. Woodwinds then recapitulate the second theme, before a victorious coda ends the symphony triumphally.
Picture: "Venice" (1912) by the English painter Albert Goodwin.
Musical analysis partially written by myself. Sources: tinyurl.com/28vba95y, tinyurl.com/28pzaq4g and tinyurl.com/2ymhdyba
Unfortunately, the score isn't freely available.
