Description
George Lloyd started to learn the violin at the age of five and he was a pupil of the violinist Albert Sammons for six years. In his youth, Lloyd's talent as an instrumentalist allowed him to participate in local musical events from formal concerts to more convivial gatherings: a 1930 newspaper report of a 'social in the Zennor schoolroom' observed that 'Mr George Lloyd played the violin and dancing was indulged in'. Looking back on his formative influences, Lloyd singled out Sammons as having the most lasting effect on his burgeoning creativity, identifying the latter's 'instinctive, freely expressive playing' as having a direct bearing on the kind of music he began to write. In this regard, Lloyd's description of the sound of Sammons's playing as 'gorgeous', with 'a lyrical quality' in which 'every note seemed to sing' chimes with the composer's own essentially lyrical approach to musical lines and phrases. Lament, Air and Dance, for violin and piano (1975) corresponds broadly with Joseph Horovitz's prescription for a three-movement design as favouring the listener 'first in the head, then in the heart, and finally in the toes'. The expansive, spaciously conceived opening Lament takes the form of a freely worked out chaconne based the opening theme played by the violin in low register.