‘I just write what I have to write’. The artistic credo of George Lloyd conveys the directness and emotional honesty of his music, which is distinctive and written with integrity. He was fortunate enough to discover his individual and versatile musical voice at an early age. The deceptively artless quality of his scores stems from a thorough grounding in composition techniques. He wrote in a traditional idiom enriched by a close study of selected models, Verdi and Berlioz chief among them. There is a remarkable consistency to his output, most of which was created spontaneously and without the incentive of a commission.

Conceived on a grand scale, Lloyd’s late choral works build fruitfully upon his previous experience in other genres. They share with his operas an innate lyricism, natural affinity with the human voice and feeling for the long line, while their structural balance, intensive working out of motifs and rich orchestral palette owes a significant debt to his prolific symphonic output.

Lloyd produced the final score of his Requiem a month before his death. It is inscribed ‘to the memory of Diana Princess of Wales’. Compassionate, reassuring and even, at times, joyful, this is a conscious leave-taking on the part of the composer. His compact and cogent setting of Psalm 130 constitutes, arguably, his most fluently effective use of a cappella choral writing.