Storm Brewing
  • Piano Concerto 2001
  • Violin Concerto 2002
  • Cello Concerto 2003
  • Eulogy Cantata 2004
  • Viola Concerto 2005
  • Piano Concerto 2006
  • Forest Concerto 2007
  • Tuba Concerto 2008
  • Clarinet Concerto 2009
  • Concerto for Man 2010
  • Concerto for India 2011
  • Concerto for Ocean and Orchestra 2012
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EULOGY CANTATA (2004)

Keith Perreur-Lloyd

Chorus and Sopranos, Contraltos, Baritones, plus Narrator.
Orchestral Instruments:
Picc., 2 Flute, 2 Oboe, Cor.Ang., 2 Clari.,
4 Horn, 3 Trump., 2 Tromb., Tuba,
2 Timp., Cymbs., Bass Dr., Tub. Bells., Xyloph.,
Vios.1, 2, Violas, Cellos, D.Basses.

Treasure the Gift that is already lost.

This is my personal work.
Please scroll down to view the Narrator's words or download the score below.[My music can also be heard on YOU TUBE with auto-scrolled scores.]

Score

To download the score, place your cursor on the button, then right-click, and select either Save Link or Save Target As...

MUSICIANS' COMMENTS

WILBUR LIN, National Taiwan Symphony Orchestra
Such mature, energetic, and completely authentic music. It definitely deserves to be performed with performers of the top class and to be enjoyed by the audience.
(I particularly liked the cantata.)

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JULIAN LLOYD WEBBER on the diatribes against classical music - 2007
"So much vitriol has been flying around the classical music world in recent weeks that the casual observer might wonder if it is about to implode. The Master of the Queen's Music, Sir Peter Maxwell Davies, attacked our utterly philistine government. The Guardian's Tom Service dubbed Classic FM a callow backing track for our superficial, commercialised times. Classic's managing director retaliated that classical music should be enjoyed, rather than be an experience akin to taking an enforced cold shower, while Sean O'Hagan of the Observer concluded that pop music thrives because it is a living, breathing, vital part of contemporary culture. Classical music is not. Its greatest composers are dead, its era long gone. Since all this spleen was vented over a matter of days (days during which writer and critic Norman Lebrecht continued to tell us that there is no such thing as a new classical CD and that Elgar equals antediluvian Little Englishness), you could be forgiven for thinking that classical music is determinedly seeking the self-destruct button. Much of Maxwell Davies's speech to the Incorporated Society of Musicians carried the ring of truth, but it was couched in such extreme terms that it was bound to trigger an equally venomous response. I can easily understand Sir Peter's frustration, but I am not convinced that such an antagonistic approach will achieve the desired effect. Especially when it results in the kind of ill-informed rant against classical music delivered by O'Hagan. There are many fine composers writing today - it's just that O'Hagan doesn't know about them (I suggest he catches the John Adams Prom on August 21 for starters). At a time when classical music in this country continues to be relentlessly sidelined (last Friday's death of Rostropovich - one of the greatest musicians who ever lived - was deemed unworthy of a single paragraph in all but one of Sunday's broadsheets), surely we should be uniting as never before? And by "we", I mean all of us who love classical music and are fed up with it being persistently pushed to the periphery. Which is why Service's attack on Classic FM seems particularly unhelpful. Not only did he describe Elgar's Cello Concerto as "a knackered old warhorse" (that's most of my summer wasted, then), but he dismissed Karl Jenkins's music as "facile commercialism". I am no expert on Jenkins's music, but I did play "Benedictus" - the cello solo from his mass The Armed Man - at its première in 2000. Since then, it has received many hundreds of performances, and when a little old lady asked me recently what the name was of that beautiful piece for cello and choir, because her husband had died and she would like it played at his funeral, I knew exactly which piece she meant. I had hoped that contemporary classical music had become a broader church since John Rutter felt obliged to introduce a CD of his music with the words: "You may wonder why this disc is being released in August. It's because all the critics are on holiday." One man's meat is another man's poison and - perhaps appropriately on the day of the much-maligned Classical BRITs - may I make a plea for a bit more tolerance and a lot less bickering, before there is nothing left to bicker about? On a more upbeat note, the news that eight British orchestras have combined to find ways of admitting children free of charge is exactly the kind we need to be hearing. Football clubs have been doing this sort of thing for years, because they know that if you 'catch them when they're young' they will support you for life."