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It is significant that, when Lloyd turned his attention to writing concertante works for the violin, he avoided using full orchestral forces. His sensitivity to issues of balance and scrupulousness in scoring in his operas was matched by his determination that the solo instrument in his concertos should not be overwhelmed by thick orchestral textures. As he put it, 'I don't really like the relationship between the violin and the big modern orchestra. I hate to hear that poor little fiddle being totally swamped'.
