———B RAN D-—— THE FOREST OF ARDEN George Lloyd ® Duration: c. 10.30 CONCERT BAND SERIES Catalogue No: Full Score Set (incl score): 10042 ‘Score only; 11042THE FOREST OF ARDEN - George Lloyd (b. 1913 d. 1998) A Symphonic sketch for Concert Band The resurgence of interest in George Lloyd's music must give us faith that such tafent will ulmately prevail against sometimes unhappy circumstances. Lloyd®yyas Comish and showed precocious gifts at an early age - he had completed his first symphony byith¢:age of nineteen. During the 1930s he completed two operas, one of which - "The Serf" was produced at Covent Gurden in 1938. He was set for a glittering carect as a composer, ‘The Second World War intervened and he was invalided out of the‘Nayy in a sheil-shocked state, and having written very little serious music since 1937 went:-t6'Sivitzerland to recuperate, looked after by his wife Nancy. Painfully he began writing again - symphonies Nos. 4 and'5*,and then returned to England, He needed to earn a living and he set up a mushroom farm in Dorset. But slowly he began to compose again and drafted more symphonies in short score. red the equal of Walton, Britten and other bright young stars of English music some 30°¥eans earlier. Lloyd decided to embark on a series of recordings of his symphonies, and slowly populir acclaim enabled him to regain his position. "The Forest of Arden” was written in 1987 Band. Although Lioyd's music feels instinctively weitten but the craft and structure are always stibordinaté should not be misled - it is carefully crafted, ‘to create a flow with a strongly melodic content. Instead of two or three themes, “The Forest of Arden" contains an abundance of ideas which can be described in two groups. ‘The first soup contains die opening shytlunie motif, quickly developed into a short rising quaver passagevin.the woodwinds, and later then a chromatic ‘ostinato’ bass - only 8 bars at this stage but later expanded. The second group is broad did'expansive, initially based on intervals of rising fifths introduced by euphonium, tubas and baritone sdxephone, immediately cchocd by homs. Low brass and winds expand the theme into rising sixths and octaves, There is a hint of development, but this is arrested as the music moves toa piu tranquillo section introduced by the alto saxophone which further develops the rising sixth There follows a true development of the opening material, starting with the ostinato bassiaitel gradtiaily passing through different tonal centres until the rising fifths of the second theme ggoup are heralded - ‘fortissimo’ and ‘poco piu largamente' shortly before the end. 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