George Lloyd’s Cello Concerto and Orchestral Suite: Anthony Ross’s Captivating Performance with Albany Symphony Orchestra

Composer: George Lloyd
Works: Cello Concerto (1997), The Serf – Orchestral Suite No. 1 (1938, 1997)
Performers: Anthony Ross (cello), Albany Symphony Orchestra, David Alan Miller
Recording: 15 Jan 2000 (suite), 22 Apr 2001 (concerto), Troy Savings Bank Music Hall, Troy, New York, USA
Label: Albany Troy 458 [67.24]

George Lloyd’s music, often overshadowed by the turbulent historical contexts that shaped his career, emerges in this recording as a testament to his unique voice in the 20th-century landscape. The Cello Concerto, composed in 1997, stands as a late manifestation of Lloyd’s creative spirit, capturing a compelling narrative within its single-movement structure. In conjunction with the earlier Orchestral Suite from 1938, this disc offers listeners a dual perspective on Lloyd’s evolution as a composer, juxtaposing youthful exuberance with the introspective maturity of his later years.

The Cello Concerto, despite its late date, reflects Lloyd’s characteristic flow of melodic ideas, transcending the pitfalls often associated with the composer’s later works. Anthony Ross’s performance is both technically assured and deeply expressive, channeling the concerto’s lyrical passages with a sense of urgency and gravitas. The opening section, “violante, doloroso,” evokes the ethereal quality reminiscent of Kodály’s solo cello writing, marked by delicate tremolos and hushed dynamics that create a poignant atmosphere. The orchestration, while at times yielding a slightly glassy tone from the Albany violins, generally serves to amplify the cello’s voice rather than overshadow it. The contrasting sections—especially the “Adagio,” with its echoes of Tchaikovsky and Sibelius—showcase Lloyd’s ability to blend emotional depth with melodic sophistication.

Technical aspects of the performance are commendable, though the recording does reveal the limitations of the orchestral sound at specific points, such as the aforementioned instance at 2:03 in track three. However, these moments are rare, as the overall engineering captures a rich soundscape that envelops the listener. The spaciousness of the Troy Savings Bank Music Hall lends itself well to the concerto’s expansive gestures, allowing the cello’s soaring lines to resonate with clarity. The finale, a Largo that descends into silence, is profoundly affecting, reminiscent of Bax’s Sixth Symphony, and serves as a fitting, reflective conclusion to the work. Lloyd’s choice to eschew flamboyance in favor of sincerity is both daring and rewarding, solidifying this concerto as perhaps his finest.

The Serf, composed when Lloyd was just 25, unveils a burgeoning talent steeped in the influences of his time. The suite, drawn from his second opera, is imbued with a sense of drama and compelling narrative, echoing the emotional intensity of Sibelius’s Kullervo. Each movement unfolds with a vividness that speaks to Lloyd’s early mastery of orchestral color, particularly in “Sigrid’s Fear,” where a Verdian breadth lends a gravitas to the unfolding drama. The “Love Duet,” imbued with an ochre hue reminiscent of Bax, showcases a heartfelt dialogue that captures the essence of the tragic story.

This recording, while not exhaustive in its historical annotations—lacking specific details on premieres and cast—does effectively highlight Lloyd’s duality as a composer. It draws connections between the youthful vigor of The Serf and the contemplative depth of the Cello Concerto, offering a nuanced portrait of an artist grappling with the tumult of the world around him.

George Lloyd’s music, particularly in these selected works, deserves to be placed alongside the great British compositions of the 20th century. This recording is a significant addition to Lloyd’s discography, providing not only a captivating listening experience but also an invitation to rediscover a composer whose work resonates with both historical significance and emotional weight.

Tom Fasano has been writing reviews of classical music recordings for the past quarter century. He's finally making them public on this blog.