Composer: George Lloyd
Works: Requiem (1997), Psalm 130 (1995)
Performers: Stephen Wallace (counter-tenor), Jeffrey Makinson (organ), The Exon Singers/Matthew Owens
Recording: 2002 DDD
Label: Albany Troy 450
George Lloyd’s contributions to the choral repertoire often reflect the turbulent spirit of his times, yet his later works, particularly the Requiem and Psalm 130, embody a profound introspection that transcends mere historical context. The Requiem, completed shortly before Lloyd’s death in 1998, stands as a poignant memorial in the wake of personal and cultural loss, specifically inscribed in memory of Diana, Princess of Wales. This recording presents a compelling exploration of Lloyd’s late style, characterized by a move towards succinctness and transparency, shedding the orchestral opulence that marked his earlier compositions.
The Exon Singers, under Matthew Owens, deliver a performance of notable richness and clarity, making the most of the small forces prescribed by Lloyd. The chorus, while seemingly smaller than the grand forces typically associated with Requiem settings, effectively conjures a larger, more cohesive sound. This is particularly evident in the “Rex tremendae,” where the harmonies resonate with both strength and serenity. However, the counter-tenor Stephen Wallace’s contributions introduce a nuanced layer of vulnerability. His tone, while expressive, occasionally veers towards tremulousness, which may not align with every listener’s preference but does lend an air of fragility that complements the text’s themes of mortality and solace.
Musically, the Requiem draws upon a tapestry of influences, with echoes of Allegri’s “Miserere” and Britten’s “Saint Cecilia” interspersed with the ethereal textures reminiscent of Fauré and Holst. The “Dies Irae” showcases Lloyd’s ability to conjure vivid imagery through music, employing sharp dissonances and rhythmic urgency that evoke a visceral response. Conversely, the “Lux Aeterna” unfolds with a cascading serenity, where the organ’s fluid lines intertwine with the choral writing, producing a solace that is both comforting and deeply moving. This juxtaposition of tumult and tranquility is a hallmark of Lloyd’s mature style, revealing the complexity of human emotion in the face of despair.
Psalm 130, composed two years earlier, serves as an a cappella reflection that complements the Requiem’s themes while offering a distinct sonic palette. The English text, though not included in the booklet, resonates with a stark beauty, evoking the same contemplative spirit found in Vaughan Williams’ “Serenade to Music.” The sopranos achieve an ethereal purity that recalls the “blue note” quality of Stanford’s work, while the choral writing navigates a more diverse emotional terrain, oscillating between vigorous declaration and introspective reflection. This work, while less grandiose than the Requiem, stands as a testament to Lloyd’s mastery of vocal texture and harmonic language.
Sound quality in this recording is commendable, capturing the transparency of the choral lines against the organ’s rich, resonant backdrop. The engineering effectively balances the intimate nature of the performances with the spaciousness of the recorded acoustics, allowing the listener to experience the nuances of Lloyd’s writing without compromising the choral blend.
For anyone invested in the choral landscape of the late 20th century, this disc is an essential acquisition. It not only commemorates a warm-hearted composer whose music often stood in contrast to contemporary trends but also illuminates the emotional depths that Lloyd’s music can reach. The Requiem and Psalm 130 collectively showcase a dazzling creativity that speaks to the enduring power of choral music, ensuring George Lloyd’s legacy continues to resonate long after his passing.