128:. "Edward Lloyd's is one of those pure, natural voices that never lose their sweetness, but preserve their charm so long as there are breath and power to sustain them. His method is, to my thinking, irreproachable and his style absolutely inimitable. His versatility was greater than that of Sims Reeves, though he was never a stage tenor; for he was equally at home in music of every period and of every school. In Bach and Handel, in modern oratorio, in the Italian aria, in Lied, romance or ballad, he was equally capable of arousing genuine admiration." His performance of 'Love in her eyes sits playing' (
33:
151:
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421:. The Philharmonic orchestra gave him a 'mundane' accompaniment in Lohengrin's grail narration in January 1889, and in Siegfried's forge his laugh was too well-bred, 'hardly the exultant shout of a young giant over his anvil'; and William Nicholl was out of tune as Mime. In July 1889 even Richter's wonderful conducting of
578:
Klein thought him more versatile than Reeves, at home in every period and school in music. In Bach and Handel, modern oratorio, Italian aria, Lied, romance and ballad, he was equally capable of arousing admiration: and he could declaim Wagner with a beauty of tone, a fullness of dramatic expression,
508:
at the
Birmingham Festival, was a disaster. Having created Caractacus, Lloyd had adapted himself to Elgar's musical idiom. He was certainly very nervous and, far from underestimating the task, suffered great anxiety on this occasion, being near the end of his career and not in particularly good
178:
in 1874, and participated in every subsequent festival there until his retirement in 1900. In these performances before huge audiences in that immense space, his beautiful, resonant and clarion voice carried wonderfully. These festivals might include full performances of
524:
was not only the pivot of Elgar's career as a composer, but a transforming event in musical history. Lloyd's career, rooted in an older musical idiom, was by then almost complete and it was left to a younger generation, notably the tenors
431:
could not (for Shaw) redeem Lloyd's 'wanton tampering' and 'annoyingly vulgar alteration' of important passages, and even in performances a few years later did not quite forget it, though he admitted Lloyd had set a standard in the work.
197:
on successive nights, each being exceptionally demanding for the tenor (but extremely rewarding for one equal to the task). The earliest 'live' recording of a
British concert was made at the Crystal Palace 1888 Festival performance of
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said that, like his great predecessor Sims Reeves (who had died in
October 1900), although Lloyd was quite unlike him in character of voice and method, both exemplified the purest attributes of the
124:, who heard Lloyd early in his career, was surpassingly impressed by his voice and delivery. He called its quality 'most exquisite', with an amazingly smooth legato, comparable to the great tenor
618:. They give a fair sample of his ballad repertoire at this date (1904–11), with key representations of his Handel, Mendelssohn, Wagner, Gounod, Balfe and Sullivan. This list is possibly complete.
883:(Century Co., New York 1903), pp. 467–68), but he admitted that Lloyd himself never claimed that distinction, see H. Klein, 'Sims Reeves: "Prince of English tenors",' in R. Wimbush (comp.),
579:
and a clarity of enunciation that made his German audiences in London shout for very wonder and delight.' Richter considered he was the first tenor to do justice to the
Preislied from
328:
her usual self. Shaw despised the massed festivals, but usually much admired Lloyd. In June 1891 at
Crystal Palace, if Santley was the hero of the hour, Lloyd was delightful in
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887:(General Gramophone Publications Ltd, Harrow 1973), 109–112. It was in concert and oratorio but not in the operatic repertoire, that Lloyd emulated his great predecessor.
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at the
Crystal Palace in November 1889; in June 1890 he found the massed performance (3000 executants) an ordeal, but thought Edward Lloyd sang 'without a fault', when
533:, to immortalise both the new dynamic of the music, and themselves, in its full spiritual realisation. Elgar still hoped for Edward Lloyd to appear at a festival at
202:, in which Lloyd was the principal tenor, though unfortunately the selections on the surviving three wax cylinder records do not include any of his actual singing.
138:) he called 'absolutely unsurpassable', and greater than any Handelian singing heard thereafter. This extremely high praise came from a most discerning critic.
457:
and the
Siegfried forging music 'very tunefully and smoothly, without, however, for a moment relinquishing his original character as Mr Edward Lloyd.' In the
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all had to accord first place in popular esteem to
Charles Santley, who received stupendous applause. On Jubilee Sunday 1897 he performed the Mendelssohn
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218:
he appeared with
Charles Santley and Anna Williams in the first performance of an oratorio by Edward Hecht. More significantly, he created lead roles in
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in May 1894, Lloyd was 'playing a little to the gallery by a style of declamation not exactly classic, though sufficiently sincere and effective.'
1123:
3rd, Revised, edition 1925, reprint with addenda 1927 (Gramophone Co., London), p. 465. Photograph of Edward Lloyd cutting the first sod at Hayes.
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was the key attraction at
Crystal Palace. In July 1890, Lloyd 'sang well', but tended to 'jingoism', 'genteel piety' and 'sentimentality' in the
551:) but his wish remained unfulfilled: 'the great man will not emerge'. Instead John Coates took the first two roles and Lloyd Chandos the third.
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came off well, with the usual line-up of Santley, Lloyd, Albani and Patey. He appeared on 2 December 1893 at the official opening of the
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Edward Lloyd was born in London, into a musical family. His father had, by invitation, assisted as a counter-tenor on 'Show Sundays' at
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voice. The long and taxing nature of the role, and the frequent standing up to sing and sitting down again, had an unfortunate effect.
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Bispham 1920, p. 121. Herman Klein wrote: "The mantle of Braham and Sims Reeves, as worthily borne by Edward Lloyd..' (Klein,
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274:. Lloyd was, therefore, entirely identified with the largest works of the Sacred Musical Drama so characteristic of his age.
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Festival, and came prominently to public attention. He never sang in the theatre, possibly because he was short of stature (
109:
heard him described as 'a nice, plump little gentleman.'). In 1873 he made his first appearance at St James' Hall with the
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in a concert performance of the last act was 'beyond cavil'. At the Richter concert of June 1891 he sang Tannhäuser's
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when choral concerts were directed by the fourteen-year-old Sims Reeves. Young Lloyd began singing as a chorister at
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concert aria in the December centenary celebration. In June 1892 a proposed Crystal Palace performance of Handel's
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504:.) It is well known that the first performance of the latter, which occurred on 3 October 1900 under the baton of
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Voices of the Past: I. A Catalogue of Vocal recordings from the English Catalogue of the Gramophone Company, etc
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As the creator of Sacred roles, it was natural that he was chosen to give first performances of lead roles in
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Edward Lloyd, foremost English concert tenor of the 1880s and 1890s. The original performer of the 'soul' in
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Lloyd created many of the great tenor roles in late Victorian oratorio and concert works. In the
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as the foremost tenor exponent of that genre during the last quarter of the nineteenth century.
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After almost thirty years before the public Edward Lloyd gave his farewell concert at the
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02118 (a) Songs my mother taught me (Dvořák),(b) Tune thy strings, o gipsy (Dvořák). 1908
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C. Pearce, Sims reeves, Fifty Years of Music in England (Stanley Paul, London 1924), 23.
113:. In the year of his retirement in 1900, he became the Gold Medallist of that Society.
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on the following night, though he had to repeat it, and sustained his reputation.
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900:. British Academy., Oxford University Press. (Online ed.). Oxford.
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In February 1907 he ceremonially cut the first sod at the site of the
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862:, 3rd edition, reprint with addenda, (The Gramophone Company, 1927).
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Act 3 under Richter, but 'he was not Lohengrin.' In March 1891 his
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Royal Philharmonic: The Annals of the Royal Philharmonic Society
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and upheld the best traditions of the British oratorio school.
594:, Ltd (later HMV). He emerged from retirement to sing at the
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which Lloyd sang to perfection, though again he, Mme Albani,
375:, with Mme Albani and Margaret Hoare, under the direction of
61:
performance, and was recognised as a legitimate successor of
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to spare Lloyd the difficulty of the new role. However the
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considered him the foremost tenor of the concert platform.
306:'s reviewing days. Shaw thought Lloyd in his best vein in
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Lloyd was good again at Birmingham in October, and in a
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3-2294 Bonnie Mary of Argyle (Landon Ronald, pno). 1905
602:
in 1911, and at a Benefit Concert in 1915. He died in
174:, Lloyd was engaged instead. He had performed there in
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London Music in 1888–89 as heard by Corno di Bassetto
842:(Collected edition, 3 Vols)(Constable, London 1932).
516:sang the baritone roles and the angel was sung by
881:Thirty Years of Musical Life in London, 1870–1900
819:Thirty Years of Musical Life in London, 1870–1900
622:3-2024 I'll sing thee songs of Araby (Clay). 1904
614:The following records were made by Lloyd for the
750:02095 I'll sing thee songs of Araby (Clay). 1907
721:3-2922 The sea hath its pearls (Cowen). 1907–08
652:3-2081 When all the world is fair (Cowen). 1904
744:02088 Come into the garden, Maud (Balfe). 1907
798:), A Dictionary of Modern Music and Musicians
53:(7 March 1845 – 31 March 1927) was a British
8:
772:04792 Rejoice in the Lord (J F Bridge). 1911
715:3-2870 The song of the south (E Lloyd). 1907
655:3-2082 The sea hath its pearls (Cowen). 1904
724:3-2938 Bonnie Mary of Argyle (Nelson). 1908
712:3-2865 Alice, where art thou? (Asher). 1907
302:Lloyd was very active during the heyday of
1177:Royal Philharmonic Society Gold Medallists
631:3-2027 The Death of Nelson (Braham). 1904
146:Handel Festivals and the mantle of Reeves
766:02139 The star of Bethlehem (Adams) 1908
679:3-2087 The maid of the mill (Clay). 1904
149:
898:Oxford dictionary of national biography
872:
695:3-2802 Then shall the righteous shine,
563:in December 1900, two months after the
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81:, and in 1866 became a member of both
885:The Gramophone Jubilee Book 1923–1973
747:02090 Sing me to sleep (Greene). 1907
162:withdrew from his engagement for the
7:
753:02101 The minstrel boy (Moore). 1907
685:3-2299 The minstrel Boy (Moore).1905
741:02087 Fleeting years (Greene). 1907
643:3-2029 Let me like a soldier fall,
435:In March 1890 his 'Preislied' from
262:Birmingham Triennial Music Festival
97:in 1869–71. In 1871 he sang in the
57:singer who excelled in concert and
709:3-2856 Awake, awake (Piatti). 1907
628:3-2026 The Holy City (Adams). 1904
69:Early training in choral tradition
25:
1192:19th-century British male singers
769:02157 The Holy City (Adams). 1908
625:3-2025 Tom Bowling (Dibdin). 1904
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718:3-2889 A farewell (Liddle). 1907
688:3-2801 If with all your hearts,
665:3-2085 If with all your hearts,
355:was substituted by the familiar
170:over the controversy concerning
1187:Choristers at Westminster Abbey
791:A Quaker Singer's Recollections
702:3-2855 Come, Margherita, come,
814:(Rider & co, London 1946).
807:(Rider & co, London 1944).
338:. But he was out of sorts for
1:
1172:Gentlemen of the Chapel Royal
856:(Geoffrey Bles, London 1956).
833:The Record of Singing to 1914
330:Love in her eyes sits playing
828:(Isaac Pitman, London 1909).
821:(Century Co, New York 1903).
793:(Macmillan, New York 1920).
537:in March 1904, (to include
324:were in excellent form and
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111:Royal Philharmonic Society
849:(Constable, London 1937).
840:Music in London 1890–1894
835:(Duckworth, London 1977).
672:3-2086 Lend me your aid,
278:The early 1890s in London
206:Creator of Oratorio roles
164:Handel Triennial Festival
826:Reminiscences of my Life
727:02062 Lend me your aid,
658:3-2083 When other lips,
406:Lloyd had an ovation at
286:Lloyd as caricatured by
854:Letters of Edward Elgar
796:Eaglefield-Hull, A. (Ed
786:(?Oakwood Press, 1955).
610:Recordings: Discography
465:third acts repeated at
379:. In 1894 it was again
91:University of Cambridge
1012:Shaw 1932, II, 122-23.
985:Shaw 1932, I, 224–225.
928:: CS1 maint: others (
805:Queen's Hall 1893–1941
759:02123 Sound an alarm,
699:(Mendelssohn). 1906–07
692:(Mendelssohn). 1906–07
637:Alice, Where Art Thou?
497:The Dream of Gerontius
295:
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43:The Dream of Gerontius
1144:at Wikimedia Commons
1084:Bispham 1920, p. 287.
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221:The Martyr of Antioch
153:
117:Vocal characteristics
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18:Edward Lloyd (singer)
1142:Edward Lloyd (tenor)
1057:Shaw 1932, I, 38–39.
951:Santley 1909, p. 95.
800:(Dent, London 1924).
514:Harry Plunket Greene
512:In that performance
395:with Mme Albani and
27:British tenor singer
1182:Singers from London
1093:Young 1956, p. 133.
669:(Mendelssohn). 1904
417:in July 1888 under
304:George Bernard Shaw
1075:Shaw 1932, I, 215.
1066:Shaw 1932, I, 148.
1048:Shaw 1937, 326–27.
1003:Shaw 1932, I, 297.
994:Shaw 1932, I, 261.
734:02063 Prize song,
616:Gramophone Company
592:Gramophone Company
428:Damnation of Faust
332:and in one of the
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99:St Matthew Passion
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1021:Shaw 1937, 35–36.
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192:
186:
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175:
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122:Herman Klein
120:
95:Chapel Royal
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51:Edward Lloyd
50:
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1162:1927 deaths
1157:1845 births
831:Scott, M.,
817:Klein, H.,
810:Elkin, R.,
803:Elkin, R.,
527:John Coates
518:Marie Brema
494:(1898) and
369:Mendelssohn
308:Mendelssohn
292:Vanity Fair
244:(1888) and
160:Sims Reeves
1151:Categories
867:References
596:Coronation
567:premiere.
549:Caractacus
491:Caractacus
475:Caractacus
463:Tannhäuser
450:Tannhäuser
385:Ben Davies
326:Mme Albani
270:(1884) of
234:(1886) of
228:1880) and
216:Manchester
103:Gloucester
924:cite book
573:bel canto
565:Gerontius
539:Gerontius
522:Gerontius
502:Gerontius
479:Gerontius
459:Lohengrin
444:Lohengrin
413:Siegfried
322:Mme Patey
247:King Saul
238:; in the
916:56568095
646:Maritana
604:Worthing
600:George V
555:Farewell
410:for his
313:St. Paul
299:Oratorio
75:Worthing
59:oratorio
777:Sources
634:3-2028
473:Elgar:
423:Berlioz
182:Messiah
101:at the
914:
904:
697:Elijah
690:Elijah
667:Elijah
352:Samson
347:Mozart
294:, 1892
241:Judith
130:Handel
729:Irene
486:Elgar
367:, in
361:Judas
55:tenor
38:Elgar
930:link
912:OCLC
902:ISBN
547:and
529:and
477:and
461:and
387:and
320:and
290:for
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598:of
488:'s
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288:Lib
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166:at
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