Lloyd, Jonathan

Lloyd, Jonathan, English composer; b. London, Sept. 30, 1948. He took composition lessons in London with Emile Spira (1963–65), and with Edwin Roxburgh (1965–66) and John Lambert (1966–69) at the Royal Coll. of Music; also worked with Tristram Cary at the electronic music studio there and then completed his training with György Ligeti at the Berkshire Music Center in Tanglewood (summer, 1973). He was composer-in-residence at the Dartington Coll. Theatre Dept. (1978–79). He has produced a number of compositions of considerable and lasting value, distinguished by a variety of forms and styles. His music theater work Scattered Ruins won the Koussevitzky Composition Prize in 1973.

Works

dramatic: Scattered Ruins, music theater (Tanglewood, Aug. 1973); Musices genus, masque (1974); The Adjudicator,“community opera” (1985; Blewbury, April 15, 1986); Blackmail, music for Hitchcock’s silent film (1992–93; Paris, March 13,1993). orch.:Cantique for Small Orch. (1968; rev. 1970); Time Caught by the Tail for Strings and Percussion (1969); Concerto for Viola and Small Orch. (1979–80; London, Nov. 10,1981); Fantasy for Violin and Orch. (1980); Rhapsody for Cello and Orch. (1982); 5 syms.: No. 1 (1983; Birmingham, Jan. 19,1989), No. 2 (1983–84; Baden-Baden, Feb. 12,1988), No. 3 for Chamber Orch. (Wilde Festival, June 27, 1987), No. 4 (London, July 26,1988), and No. 5 (1989; Birmingham, Jan. 14,1990); Wa Wa Mozart for Piano and Chamber Orch. (London, Dec. 5,1991); There for Guitar and Strings (1991; Aldeburgh, Jan. 1, 1992); Tolerance (1993). ensemble:Won’t It Ever Be Morning (1980); Waiting for Gozo (1981; London, Jan. 15, 1982); 3 Dances (Reykjavik, June 18, 1982); Don’t Mention the War (1982; Montepulciano, Aug. 2, 1983); The Shorelines of Certainty (Aldeburgh Festival, June 17, 1984; incorporated in Songs from the Other Shore, 1984–86; London, May 11, 1986); Time between Trains (Wilde Festival, June 30, 1984); The New Ear (Colchester, Sept. 28,1985); Almeida Dances (London, June 25,1986); Dancing in the Ruins (Warwick, July 12,1990). chamber:John’s Journal for Saxophone and Piano (1980); 2 string quintets: No. 1 for 2 Violins, 2 Violas, and Cello (1982) and No. 2 for Mandolin, Lute, Guitar, Harp, and Double Bass (1982); Brass Quintet for 2 Trumpets, 2 Trombones, and Tuba (1982); Wind Quintet for Flute, Oboe, Clarinet, Bassoon, and Horn (1982; London, Jan. 5, 1984); String Quartet No. 1, “Of Time and Motion” (1984; London, June 25, 1986); Oboe Sonata (1985); The 5 Senses for Flute and Guitar (1985); True Refuge for Clarinet and Piano (1985); Feuding Fiddles for 2 Violins (1986); 1 Step More for Flute, Oboe, Cello, and Harpsichord (1986); Airs and Graces for Violin (1987); He Will Make It for Cello (1988); Restless Night for Wind Quintet (Bournemouth, June 29,1991); There and Then for Guitar Duo (1991–92; Exeter, June 20, 1992. vocal:Coming into Gone for Chanters and Orch. (1974); The Other Shore for Chorus and Orch. (1975); Everything Returns for Wordless Soprano and Orch. (1977–78; BBC, Oct. 4,1979); 3 Songs for Voice, Viola, and Piano (1980); Toward the Whitening Dawn for Chorus and Chamber Orch. (1980; London, March 4, 1981); If I Could Turn You On for High Soprano and Chamber Orch. (1981); No Man’s Land for Chorus and Orch. (1982); Mass for 6 Solo Voices (1983; London, April 10,1984); Missa Brevis for Double Chorus (1984); Revelation for Chorus (London, Nov. 4, 1990); Marching to a Different Song for Soprano and Chamber Orch. (1990; Bracknell, April 14, 1991).

—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire