Lloyd: The Road through Samarkand for Two Pianos

This exuberant piece begins with a lively, dancing section, driven by various rhythmic motifs, anchored by a vivid, repeated melodic pattern. An insistent triplet fanfare figure dominates the central section, before the opening gambolling material returns, with even more feverish energy. After a sonorous climax, the music gently ascends the heights before the vigorous final flourish. At several moments and especially at the music's climactic sequence, it feels as though Lloyd is demanding richer, more extensive sonorities than a single performer can produce. So it is not surprising that in 1995 he arranged the piece for two pianos. He remarked pithily, 'I think it sounds better with two pianos' and the greater depth of sound afforded by two instruments and the additional interplay between the two performers enhances the material. On the other hand, the element of striving and struggle present in the version for solo piano better complements the idealism and aspirations of the protagonists in the music's scenario.