Jonathan David Little
Jonathan David Little, BMus(Hons)(Melb), ThA(AustCollTheol), PhD, FLCM, FRSA, FISM
WEB: www.JonathanLittle.org
NAVONA Artist Page: https://www.navonarecords.com/artists/jonathan-d-little/
PRIMARY RESEARCH INTERESTS
- The Future of the Music and Entertainment Industries in the Digital Era
- The Teaching of Acoustic Musical Composition in the 21st Century
- Concepts of Colour and Texture in Musical Composition and Related Arts
- Orientalism and Exotic Orchestration in 18th- to 21st-Century Orchestral and Operatic Music
- Innovative Spatial Configurations of Choral and Instrumental Groups (drawing upon historical and acoustic research)
ACADEMIC / CREATIVE BIOGRAPHY
The atmospheric and evocative music of Jonathan David Little is notable for its beauty, intensity, richness of material, and intricate craftsmanship. On the strength of the excellence of both his music, and of his writings on music and cultural history, he was awarded the John Clementi Collard Fellowship (2011), one of the most prestigious awards of the City of London’s ancient Worshipful Company of Musicians (est.1500) – and one of the most coveted musical awards in Britain. In 2016 he won a Royal Philharmonic Society "ENCORE Choral" Award (UK), in 2017 Special Distinction in the ASCAP Rudolf Nissim Prize (USA) (Best Original Orchestral Score) – and in January 2018 his polychoral Kyrie was nominated for "Best Classical Music Recording" at the inaugural RoundGlass Global Music Awards (USA-INDIA). For his entire body of polychoral music, he was Runner-Up for the 2018 CHASS AUSTRALIA PRIZE for Distinctive Work – the nation’s highest honour in the Arts, Humanities and Social Sciences. Choir & Organ (UK) reported of his choral music that "Little writes very much in the manner of the renaissance masters, creating what a modern sensibility would identify as ‘immersive’ music of strongly mystical aspect".
From 2001 to 2005, Jonathan was Founding Principal of the UK’s Academy of Contemporary Music, which was, at that time, Europe’s leading institution for students of contemporary music and the first music education institution to win the Queen’s Award for Enterprise (Innovation Category), then Curriculum Consultant to the British and Irish Modern Music University [BIMM]. Prior to that, he was Senior Lecturer at Buckinghamshire New University on their pioneering Music Industry Management course (the first such degree course in Europe) – where he specialised in the workings of the British and international recording industry, and taught songwriting analysis – and he also taught media music composition techniques at the University of Surrey.
As an author, Jonathan writes and edits works on a variety of music-related topics, ranging from historical works discussing cultural history, instrumentation and orchestration, to more topical writings on popular music performance and the future of the music and entertainment industries. In a series of articles commissioned in 2001-02 for “American Outlook” magazine, published by The Hudson Institute – an independent scholarly think-tank which helps shape US government policy – Jonathan was one of the first writers to assess the phenomenon of the “celestial jukebox”, the state of contemporary songwriting in the new millennium, and the implications of the rise of digital cinema.
In 2001, he co-founded “Music Business Journal”, and was for five years its joint Managing Editor. From 2003-2005, he was Series Editor of the 36-volume “Academy Popular Music Tuition Series”. In 2005, he was appointed first Consultant Editor to A&C Black’s flagship volume of musical reference, the “Musicians’ and Songwriters’ Yearbook”. At the invitation of the British Academy, he contributed a chapter on contemporary songwriting to “Heart & Soul: Revealing the Craft of Songwriting”, published to coincide with the 50th anniversary of the Ivor Novello Awards.
His “vast” and “erudite” two-volume, 950-page study of musical and literary orientalism (New York, 2010-11) – “a valuable contribution in understanding the development of the modern symphony orchestra” – won a UK Authors’ Foundation / Royal Literary Fund Award, and he is working on further volumes in the series, and a major text on musical composition. He is a member of America’s National Academy of Recording Arts and Sciences (NARAS) and of Grammy Pro in the US, a Fellow of the London College of Music, and of the Incorporated Society of Musicians. His music is published by Wirripang, Australia’s leading independent fine music publisher, and recorded on PARMA (USA).
SKILLS SUMMARY: Music Composition & Arrangement; Orchestration; Conducting; Lecturing; Research; Writing; Editing (Books & Musical Scores); Consultant Editing; Arts Education; Music Business; Cultural History (incl. Literature & Aesthetics); Radio Broadcasting; Arts Organisational Management & Arts Administration.
____________________________________________________________________________________
Supervisors: Professor Peter Dennison, B.Mus.(Syd.), M.A.(Oxon&Cantab), D.Phil.(Oxon), Ph.D.(Cantab), F.R.C.O., Professor Craig De Wilde, B.A.(Whittier Coll.), M.F.A.(University of California, Irvine), Ph.D.(University of California, and Santa Barbara).
WEB: www.JonathanLittle.org
NAVONA Artist Page: https://www.navonarecords.com/artists/jonathan-d-little/
PRIMARY RESEARCH INTERESTS
- The Future of the Music and Entertainment Industries in the Digital Era
- The Teaching of Acoustic Musical Composition in the 21st Century
- Concepts of Colour and Texture in Musical Composition and Related Arts
- Orientalism and Exotic Orchestration in 18th- to 21st-Century Orchestral and Operatic Music
- Innovative Spatial Configurations of Choral and Instrumental Groups (drawing upon historical and acoustic research)
ACADEMIC / CREATIVE BIOGRAPHY
The atmospheric and evocative music of Jonathan David Little is notable for its beauty, intensity, richness of material, and intricate craftsmanship. On the strength of the excellence of both his music, and of his writings on music and cultural history, he was awarded the John Clementi Collard Fellowship (2011), one of the most prestigious awards of the City of London’s ancient Worshipful Company of Musicians (est.1500) – and one of the most coveted musical awards in Britain. In 2016 he won a Royal Philharmonic Society "ENCORE Choral" Award (UK), in 2017 Special Distinction in the ASCAP Rudolf Nissim Prize (USA) (Best Original Orchestral Score) – and in January 2018 his polychoral Kyrie was nominated for "Best Classical Music Recording" at the inaugural RoundGlass Global Music Awards (USA-INDIA). For his entire body of polychoral music, he was Runner-Up for the 2018 CHASS AUSTRALIA PRIZE for Distinctive Work – the nation’s highest honour in the Arts, Humanities and Social Sciences. Choir & Organ (UK) reported of his choral music that "Little writes very much in the manner of the renaissance masters, creating what a modern sensibility would identify as ‘immersive’ music of strongly mystical aspect".
From 2001 to 2005, Jonathan was Founding Principal of the UK’s Academy of Contemporary Music, which was, at that time, Europe’s leading institution for students of contemporary music and the first music education institution to win the Queen’s Award for Enterprise (Innovation Category), then Curriculum Consultant to the British and Irish Modern Music University [BIMM]. Prior to that, he was Senior Lecturer at Buckinghamshire New University on their pioneering Music Industry Management course (the first such degree course in Europe) – where he specialised in the workings of the British and international recording industry, and taught songwriting analysis – and he also taught media music composition techniques at the University of Surrey.
As an author, Jonathan writes and edits works on a variety of music-related topics, ranging from historical works discussing cultural history, instrumentation and orchestration, to more topical writings on popular music performance and the future of the music and entertainment industries. In a series of articles commissioned in 2001-02 for “American Outlook” magazine, published by The Hudson Institute – an independent scholarly think-tank which helps shape US government policy – Jonathan was one of the first writers to assess the phenomenon of the “celestial jukebox”, the state of contemporary songwriting in the new millennium, and the implications of the rise of digital cinema.
In 2001, he co-founded “Music Business Journal”, and was for five years its joint Managing Editor. From 2003-2005, he was Series Editor of the 36-volume “Academy Popular Music Tuition Series”. In 2005, he was appointed first Consultant Editor to A&C Black’s flagship volume of musical reference, the “Musicians’ and Songwriters’ Yearbook”. At the invitation of the British Academy, he contributed a chapter on contemporary songwriting to “Heart & Soul: Revealing the Craft of Songwriting”, published to coincide with the 50th anniversary of the Ivor Novello Awards.
His “vast” and “erudite” two-volume, 950-page study of musical and literary orientalism (New York, 2010-11) – “a valuable contribution in understanding the development of the modern symphony orchestra” – won a UK Authors’ Foundation / Royal Literary Fund Award, and he is working on further volumes in the series, and a major text on musical composition. He is a member of America’s National Academy of Recording Arts and Sciences (NARAS) and of Grammy Pro in the US, a Fellow of the London College of Music, and of the Incorporated Society of Musicians. His music is published by Wirripang, Australia’s leading independent fine music publisher, and recorded on PARMA (USA).
SKILLS SUMMARY: Music Composition & Arrangement; Orchestration; Conducting; Lecturing; Research; Writing; Editing (Books & Musical Scores); Consultant Editing; Arts Education; Music Business; Cultural History (incl. Literature & Aesthetics); Radio Broadcasting; Arts Organisational Management & Arts Administration.
____________________________________________________________________________________
Supervisors: Professor Peter Dennison, B.Mus.(Syd.), M.A.(Oxon&Cantab), D.Phil.(Oxon), Ph.D.(Cantab), F.R.C.O., Professor Craig De Wilde, B.A.(Whittier Coll.), M.F.A.(University of California, Irvine), Ph.D.(University of California, and Santa Barbara).
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Theses / Dissertations by Jonathan David Little
TABLE OF CONTENTS
Acknowledgements
Introduction
Chapter 1 - A Background to Auden's poem and Britten's setting
Chapter 2 - An analysis of Auden's "Anthem"
Chapter 3 - Britten's formal construction
Chapter 4 - Harmonic and rhythmic elements in Britten's "Hymn"
Chapter 5 - Britten's aims
Appendix
Discography
Bibliography
INTRODUCTION
There are two reasons for examining Britten's "Hymn to St. Cecilia", op.27: firstly, because it is a tremendously beautiful and moving work despite its apparent simplicity; secondly, and in consequence, to discover how Britten set to music such a vivid and profoundly philosophical text. This thesis is in essence a study of compositional method.
Auden's poem itself is complex both in terms of its construction and its meaning, and it is essential to try to look within the poem on a technical level and also to discover any personal associations it may have had for Auden, beyond his task of writing about the patron saint of music. These may be characterised as
(1): Auden and his relationship with and understanding of Britten; and
(2): Auden and religion. The first and second chapters in particular address these issues.
The third chapter attempts to examine Britten's formal construction on an overall and detailed level, with direct relation to Auden's own construction, allowing for differences of artistic medium of course. The next chapter views elements of Britten's rhythmic and harmonic construction, and it has been necessary to treat these two musical parameters together as they are inextricable.
Much more detail could be drawn out than is presented here. There are no detailed analyses of either the poem or the music in any other reference work to this date, and therefore the author must take full responsibility for the writing presented within. Certain subjective comments must be part and parcel of an analysis of a work of art, as must the technical aspects. Hopefully they will at least stimulate further thought on the musical setting, and the philosophy it attempts to reflect.
- "a useful critical guide to the work" - Dr. Craig Ayrey, Goldmiths College, University of London
- "there is no published study of this kind, to my knowledge, and no published study of the music that attempts as detailed a consideration of the relationship between text and music as this" - Dr. Christopher Mark, University of Surrey
KEYWORDS: Benjamin Britten, W. H. Auden, Hymn to St. Cecilia, Anthem for St. Cecilia's Day, Song for St. Cecilia, "Jonathan David Little"
The European view of the 'Orient' is demonstrated as being largely an idealization – but an extremely fruitful one. Had not composers perceived the 'Orient' to be some kind of Paradise, their imaginations would never have risen to such extraordinary heights. Part of this process of idealization was a reaction against the imaginative restrictions felt to have been imposed on artists by the rise of the 'super-civilized' modern industrial society. In spite of material 'progress', a gnawing sense of spiritual loss throughout Western societies fostered a feeling of nostalgia for a departed 'Golden Age', and a desire to be 'elsewhere' than Western Europe – physically or imaginatively.
Expansion by the European powers and colonization of lands considered in the nineteenth century to be 'Oriental' stimulated an increasing interest in such regions. This interest in turn provided creative artists with a new type of aesthetic 'raw material' ripe for exploitation. The European imagination became intoxicated with the unusual and strangely attractive nature of the 'Orient'. A new 'geographic' perspective entered music as composers attempted to render in orchestral terms sounds suggesting travel by land or sea, 'bizarre' and 'remote' atmospheric qualities, and especially the instruments, dances and all kinds of natural environmental elements associated with the particular 'local colour' of an 'Oriental' region and its inhabitants. Composers increasingly began to treat the orchestra as a giant experimental 'paint box' in their efforts to conjure up the atmosphere of the 'East'. An unprecedented focus on music filled with 'colour and light' was engendered by the contemporary interest in the 'Orient', and it led to the creation of new types of orchestral figuration and timbres. Such descriptive orchestral writing was eminently suited to, and promoted the development of, 'programmatic' music.
Nineteenth-century Orientalism is shown to have been a more important and vital influence in the development of European creative and imaginative endeavour than has previously been appreciated. The art of orchestration affords a particularly fine technical manifestation of the phenomenon.
Little, Jonathan D. (1994) Sources of Nineteenth-Century Musical Orientalism, or, From "Oriental" Inspiration to Exotic Orchestration: The Extra-Musical Stimuli behind Composers' Attempts to Achieve "Exotic" Programmatic Effects in Orchestral Music, ca. 1840-1920. [565pp. (170,000 words, in 2 parts bound as one), illus., tbls., mus. exx., works lst., discog., bibliog.]. [Doctoral thesis, Monash University, manuscript.]
Includes ca.100 pages of full score orchestral and operatic musical examples not included in the 2 published volumes arising from this thesis.
EXACTLY AS DESCRIBED in "DOCTORAL DISSERTATIONS IN MUSICOLOGY", 2nd Cumulative Edition (1996), with corrections and updates [ROMANTIC PERIOD]:
Little, Jonathan David. Sources of Nineteenth-Century Musical Orientalism, or, From "Oriental" Inspiration to Exotic Orchestration: The Extra-Musical Stimuli behind Composers' Attempts to Achieve "Exotic" Programmatic Effects in Orchestral Music, ca. 1840-1920. Ph.D., Music, Monash University, 1995. 560 p. illus., tbls., mus. exs., works lst., discog., bibliog. DDM Code: 61orLitJ; DA no.: RILM no.: 95:4810dd; UM no.:
Monash University Library Call No. 9923116601751; MICROFICHE 2475/3048; MA; THS-MF; L777; OS; YOS-THS
* Classified “outstanding” in Examination Assessment
* Awarded a Monash University Postgraduate Publication Award (1994-95) to prepare this research for publication in article/book form (as 2 vols.).
[OF THE (then) UNPUBLISHED DISSERTATION, also separately described (unsolicited) as:]
“outstanding” - Professor Werner Sollors, Henry B. and Anne M. Cabot Professor of English and of African American Studies, Harvard University, and Global Professor of Literature at New York University Abu Dhabi, in "Neither Black nor White Yet Both: Thematic Explorations of Interracial Literature", New York: Oxford University Press (see Acknowledgements page).
OVERALL MULTI-VOLUME PROJECT DESCRIPTION:
https://www.powerpresskits.com/Users/5816/PDFs/937a692c-55e5.pdf
SEE FURTHER THE TWO PUBLISHED VOLUMES ARISING FROM THIS RESEARCH (which cover most of its contents):
https://mellenpress.com/author/jonathan-david-little/7329/
VOL. 1. DESCRIBED:
https://www.academia.edu/38435892/The_Influence_of_European_Literary_and_Artistic_Representations_of_the_Orient_on_Western_Orchestral_Compositions_ca.1840-1920_From_Oriental_Inspiration_to_Exotic_Orchestration._New_York_EMP_2010._OPENING_PAGES_with_INTRODUCTION_ONLY_to_p.14_for_review_
To obtain:
https://www.amazon.com/Influence-Representations-Orchestral-Compositions-1840-1920/dp/0773414266
VOL. 2. DESCRIBED:
https://www.academia.edu/38441300/Literary_Sources_of_Nineteenth_Century_Musical_Orientalism_The_Hypnotic_Spell_of_the_Exotic_on_Music_of_the_Romantic_Period._New_York_EMP_2011._OPENING_PAGES_with_INTRODUCTION_ONLY_to_p.4_for_review_
To obtain:
https://www.amazon.com/Literary-Sources-Nineteenth-Century-Musical-Orientalism/dp/077341553X/ref=sr_1_9?s=books&ie=UTF8&qid=1551183902&sr=1-9
REVIEWS OF THE [LATER] TWO PUBLISHED VOLUMES:
VOL. 1. https://www.jstor.org/stable/24330441?seq=1#page_scan_tab_contents
VOL. 2. https://www.jstor.org/stable/24330442?seq=1#page_scan_tab_contents
A NOTE ON THE DIFFERENCES BETWEEN THIS DOCTORAL THESIS AND THE TWO SUBSEQUENT VOLUMES DERIVED FROM ITS MATERIAL, AS PUBLISHED BY EDWIN MELLEN PRESS [EMP]:
MOST (but not all) material in this extensive dissertation has found its way into the TWO Edwin Mellen books described above, though the order is slightly rearranged, and the text is also made slightly more concise in the books, and less quotation is used. What does not appear in the books (for copyright and complexity / expense reasons) are most of the 100 or so pages of full score musical examples (mainly orchestral / operatic), which help musically illustrate all the arguments. So, in order to read the thesis as originally written, you probably need to apply for a copy of the microfiche of it which was made by Monash University Library in Australia [SEE DETAILS IN THE DOWNLOAD] - or, failing that, buy or borrow from a library the two EMP books that cover most of its contents. As far as I am aware, it is only more recently that EMP are also making digital versions of their books available (for sale), so to date (early 2019) I do not think these books are (at least legitimately) yet issued in digital format, and even if/when they are, they may not be able to include all the integral illustrations and the musical examples that are featured in the two books. (The second volume, "Literary Sources ...", is even more profusely illustrated than the first, "The Influence of ...".)
MONASH UNIVERSITY LIBRARY CALL NUMBER:
9923116601751; MICROFICHE2475/3048; MA; THS-MF; L777;OS; YOS-THS
N.B.: Edwin Mellen Press was the only publishing house able and willing to publish all this material without the substantial cuts required by most other publishing houses (for no other reason, ultimately, than in order to fit their standard "formats" - but which would have greatly damaged the integrity of the whole). Mellen Press were, in this instance, also willing to include many more illustrations than other presses, which has also proved of great assistance within the resulting publications.
KEYWORDS: musical orientalism, orchestration, literary orientalism, programme music, illustrative music, 19th-century cultural history, "Jonathan David Little"
Books (Monographs) by Jonathan David Little
The European view of the 'Orient' is demonstrated as being largely an idealization – but an extremely fruitful one. Had not composers perceived the 'Orient' to be some kind of Paradise, their imaginations would never have risen to such extraordinary heights. Part of this process of idealization was a reaction against the imaginative restrictions felt to have been imposed on artists by the rise of the 'super-civilized' modern industrial society. In spite of material 'progress', a gnawing sense of spiritual loss throughout Western societies fostered a feeling of nostalgia for a departed 'Golden Age', and a desire to be 'elsewhere' than Western Europe – physically or imaginatively.
Expansion by the European powers and colonization of lands considered in the nineteenth century to be 'Oriental' stimulated an increasing interest in such regions. This interest in turn provided creative artists with a new type of aesthetic 'raw material' ripe for exploitation. The European imagination became intoxicated with the unusual and strangely attractive nature of the 'Orient'. A new 'geographic' perspective entered music as composers attempted to render in orchestral terms sounds suggesting travel by land or sea, 'bizarre' and 'remote' atmospheric qualities, and especially the instruments, dances and all kinds of natural environmental elements associated with the particular 'local colour' of an 'Oriental' region and its inhabitants. Composers increasingly began to treat the orchestra as a giant experimental 'paint box' in their efforts to conjure up the atmosphere of the 'East'. An unprecedented focus on music filled with 'colour and light' was engendered by the contemporary interest in the 'Orient', and it led to the creation of new types of orchestral figuration and timbres. Such descriptive orchestral writing was eminently suited to, and promoted the development of, 'programmatic' music.
Nineteenth-century Orientalism is shown to have been a more important and vital influence in the development of European creative and imaginative endeavour than has previously been appreciated. The art of orchestration affords a particularly fine technical manifestation of the phenomenon.
Contains 31 black and white photographs and 15 color photographs.
REVIEWS:
“In short, this study . . . is a valuable contribution in both understanding the development of the modern symphony orchestra, as well as the compositional approaches made by the many composers who have rewarded us today with some of the finest works in the orchestral repertoire.” – Prof. Craig De Wilde, National University of Singapore (from the Foreword)
“... composer-scholar-writer Jonathan David Little provides a wide-ranging prospect … a detailed yet accessible descriptive account of its subject, equally able to stand alone or as a partner to the author's second volume. ... it should serve very well indeed the undergraduate or the historically poled graduate, whether in music or literature, as well as the general reader and music lover.” – Prof. Elizabeth Markham, Ph.D.(Cantab.), University of Arkansas, in Fontes Artis Musicae, Vol.61, Issue 2 (Apr-Jun 2014), pp.203-5.
“outstanding” - Professor Werner Sollors, Henry B. and Anne M. Cabot Professor of English and of African American Studies, Harvard University, and Global Professor of Literature at New York University Abu Dhabi, in "Neither Black nor White Yet Both: Thematic Explorations of Interracial Literature", New York: Oxford University Press (see Acknowledgements page).
FULL REVIEW AT:
https://www.jstor.org/stable/24330441?seq=1#page_scan_tab_contents
https://www.researchgate.net/publication/330142800_Jonathan_D_Little_The_Influence_of_European_Literary_and_Artistic_Representations_of_the_'Orient'_on_Western_Orchestral_Compositions_Ca_1840_-_1920_From_Oriental_Inspiration_to_'Exotic'_Orchestration_
To obtain and read a sample online:
https://www.amazon.com/Influence-Representations-Orchestral-Compositions-1840-1920/dp/0773414266
CONTENTS
Foreword by Associate Professor Craig De Wilde
Prefatory Remarks and Acknowledgements
Introduction
PART 1 The Orient: 'as image or as thought'
Chapter 1: Understanding the Retreat to the 'Exotic'
Chapter 2: Defining the 'Orient'
PART 2 The Historical Background
Chapter 3: Pilgrimages to the 'Orient'
a) The Politics of the Middle East
b) Music and Musicians among 'the splendour and havoc of the East'
c) En Espagne
Chapter 4: Sailor Musicians and Musical Travelogues
Chapter 5: Universal Expositions and the Inspiration of Contemporary Events
Chapter 6: Diaghilev's Ballets Russes
Conclusion
Postscript on Colour and Atmosphere
Appendix - A guide to the 'lingua franca' of Musical Orientalism
An explanation of the fundamental 'Eastern' traits imitated by Western composers, including a list of the most characteristic 'formulae' employed by them to create 'Oriental' atmospheres
Bibliography
Index
Lewiston, NY, USA; Queenston, Canada; Lampeter, Wales: EMP, Nov. 2010.
Foreword by Professor Craig De Wilde (University of Singapore).
ISBN10: 0-7734-1426-6 ISBN13: 978-0-7734-1426-6; 492pp. ASIN: 0773414266
Hardback $159.95 / £94.95 & Paperback formats
DDC: 784.159; Orchestral Music: 19th/20th Century; History & Criticism.
Sold as a set of two books (totalling 900pp.), as well as individually, with its companion volume (below).
Companion volume from the same publisher:
Literary Sources of Nineteenth Century Musical Orientalism: The Hypnotic Spell of the Exotic on Music of the Romantic Period (2011)
OVERALL MULTI-VOLUME PROJECT DESCRIPTION:
https://www.powerpresskits.com/Users/5816/PDFs/937a692c-55e5.pdf
VOLUMES PUBLISHED TO DATE:
https://mellenpress.com/author/jonathan-david-little/7329/
VOL. 2. DESCRIBED:
https://www.academia.edu/38441300/Literary_Sources_of_Nineteenth_Century_Musical_Orientalism_The_Hypnotic_Spell_of_the_Exotic_on_Music_of_the_Romantic_Period._New_York_EMP_2011._OPENING_PAGES_with_INTRODUCTION_ONLY_to_p.4_for_review_
KEYWORDS: musical orientalism, orchestration, literary orientalism, programme music, illustrative music, 19th-century cultural history, "Jonathan David Little"
[Excerpt by kind permission of EMP.]
The European view of the 'Orient' is demonstrated as being largely an idealization – but an extremely fruitful one. Had not composers perceived the 'Orient' to be some kind of Paradise, their imaginations would never have risen to such extraordinary heights. Part of this process of idealization was a reaction against the imaginative restrictions felt to have been imposed on artists by the rise of the 'super-civilized' modern industrial society. In spite of material 'progress', a gnawing sense of spiritual loss throughout Western societies fostered a feeling of nostalgia for a departed 'Golden Age', and a desire to be 'elsewhere' than Western Europe – physically or imaginatively.
Expansion by the European powers and colonization of lands considered in the nineteenth century to be 'Oriental' stimulated an increasing interest in such regions. This interest in turn provided creative artists with a new type of aesthetic 'raw material' ripe for exploitation. The European imagination became intoxicated with the unusual and strangely attractive nature of the 'Orient'. A new 'geographic' perspective entered music as composers attempted to render in orchestral terms sounds suggesting travel by land or sea, 'bizarre' and 'remote' atmospheric qualities, and especially the instruments, dances and all kinds of natural environmental elements associated with the particular 'local colour' of an 'Oriental' region and its inhabitants. Composers increasingly began to treat the orchestra as a giant experimental 'paint box' in their efforts to conjure up the atmosphere of the 'East'. An unprecedented focus on music filled with 'colour and light' was engendered by the contemporary interest in the 'Orient', and it led to the creation of new types of orchestral figuration and timbres. Such descriptive orchestral writing was eminently suited to, and promoted the development of, 'programmatic' music.
Nineteenth-century Orientalism is shown to have been a more important and vital influence in the development of European creative and imaginative endeavour than has previously been appreciated. The art of orchestration affords a particularly fine technical manifestation of the phenomenon.
This second volume concentrates largely on the literary stimuli acting on some of the most vibrant 'Oriental' music of the period.
REVIEWS:
“outstanding” - Professor Werner Sollors, Henry B. and Anne M. Cabot Professor of English and of African American Studies, Harvard University, and Global Professor of Literature at New York University Abu Dhabi, in "Neither Black nor White Yet Both: Thematic Explorations of Interracial Literature", New York: Oxford University Press (see Acknowledgements page).
"... this volume is a huge resource ... invaluable for both the student of literature and music (undergraduate and graduate) as well as for the music lover, alone for the vastness of the material it gathers together." - Prof. Elizabeth Markham, PhD (Cantab.), University of Arkansas, in Fontes Artis Musicae, Vol.61, Issue 2 (Apr-Jun 2014), pp.205-7.
“This book is a ‘must read’ for Romantic Period scholars of both literary and music histories. It makes a fine complement to the author’s important previous volume.” - Prof. Craig De Wilde, National University of Singapore
“Besides being a fine work of scholarship, this book is a pleasure to read. And this volume is the first of its type to survey so comprehensively the major sources of literary inspiration for western composers who sought to depict in their musical works an ‘Eastern’ flavor.” - Prof. Emer. Dolores M. Hsu, University of California, Santa Barbara (from the Foreword)
FULL REVIEW AT:
https://www.jstor.org/stable/24330442?seq=1#page_scan_tab_contents
https://www.researchgate.net/publication/330142882_Jonathan_D_Little_Literary_Sources_of_Nineteenth-Century_Musical_Orientalism_The_Hypnotic_Spell_of_the_Exotic_on_Music_of_the_Romantic_Period_pp_314_Lewiston_The_Edwin_Mellen_Press_2011
To obtain and read a sample online:
https://www.amazon.com/Literary-Sources-Nineteenth-Century-Musical-Orientalism/dp/077341553X/ref=sr_1_9?s=books&ie=UTF8&qid=1551183902&sr=1-9
CONTENTS
Foreword by Emeritus Professor Dolores M. Hsu
Prefatory Remarks and Acknowledgements
Introduction
Chapter 1: Oriental Dreams: The Romantic Outlook and 'Oriental' Literature
Chapter 2: Three 'Oriental' Literary Sources
a) The Bible
b) Salammbô
c) Lalla Rookh
Chapter 3: Arabian Nights
Chapter 4: Musical Instruments suggestive of the Ancient Orient
Appendix - Landmarks of Musical Orientalism
A selected chronological list of operatic and orchestral works with some relation to 'Oriental' themes
Bibliography
Index
[80,000 WORDS; 81 PLATES; LINE DRAWINGS + MUS. EXX.]
Lewiston, NY, USA; Queenston, Canada; Lampeter, Wales: EMP, 15th July 2011).
Foreword by Emeritus Professor Dolores M. Hsu (University of California, Santa Barbara).
ISBN10: 0-7734-1553-X ISBN13: 978-0-7734-1553-9; 468pp.
Hardback $179.95 / £104.95 & Paperback formats. [VOL. 2 of 2]
DDC: 784.159; Orchestral Music: 19th/20th Century; History & Criticism.
Sold as a set of two books (totalling 900pp.), as well as individually, with its companion volume (below).
Companion volume from the same publisher:
The Influence of European Literary and Artistic Representations of the 'Orient' on Western Orchestral Compositions, ca. 1840-1920: From Oriental Inspiration to 'Exotic' Orchestration (2010)
OVERALL MULTI-VOLUME PROJECT DESCRIPTION:
https://www.powerpresskits.com/Users/5816/PDFs/937a692c-55e5.pdf
VOLUMES PUBLISHED TO DATE:
https://mellenpress.com/author/jonathan-david-little/7329/
VOL. 1. DESCRIBED:
https://www.academia.edu/38435892/The_Influence_of_European_Literary_and_Artistic_Representations_of_the_Orient_on_Western_Orchestral_Compositions_ca.1840-1920_From_Oriental_Inspiration_to_Exotic_Orchestration._New_York_EMP_2010._OPENING_PAGES_with_INTRODUCTION_ONLY_to_p.14_for_review_
KEYWORDS: musical orientalism, orchestration, literary orientalism, programme music, illustrative music, 19th-century cultural history, "Jonathan David Little"
[Excerpt by kind permission of EMP.]
Selected Reviews of Artistic Work by Jonathan David Little
“The best way to experience the works by Jonathan David Little on this disc may not be through the recording, though by all means partake of it. The Australian-born composer has cast his resplendent sacred and secular pieces in the polychoral style of the Renaissance and early Baroque, calling for choral forces to be placed in various configurations and spaces to achieve the intended sonic and expressive effect. Although much of the impact can be discerned through speakers or earbuds, hearing them in an actual acoustic environment would add even more lustre."
Donald Rosenberg [Editor, Early Music America], “LITTLE Woefully Arrayed …” (CD review), in Gramophone, Vol.95 (Jan. 2018) [North American edition, “Sounds of America” supplement, iii] (UK/NORTH AMERICA)
Authority to display and link by kind permission of Gramophone Magazine.
GRAMOPHONE ONLINE LINK: https://www.gramophone.co.uk/review/little-woefully-arrayed
DETAILS OF THE AUDIO CD:
Little, Jonathan D., WOEFULLY ARRAYED: SACRED AND SECULAR CHORAL AND POLYCHORAL WORKS OF JONATHAN DAVID LITTLE [Woefully Arrayed; Kyrie, Gloria; Wasted and Worn; That Time of Year; Woefully Arrayed (Reprise)] [CD]: Vox Futura, directed by Dr. Andrew Shenton (Boston) - with Heinrich Christensen, organ; Stanbery Singers, directed by Paul John Stanbery (Cincinnati); Thomas Tallis Society Choir, directed by Philip Simms (London) (Release date: 14th July 2017) Navona (a fine music label of PARMA Recordings), USA. Cat. No. NV6113. Recording supported by the Australian Government via the Australia Council, and by the Royal Philharmonic Society (UK).
* ROYAL PHILHARMONIC SOCIETY “ENCORE CHORAL” AWARD WINNER (UK);
* ROUNDGLASS “BEST CLASSICAL RECORDING” NOMINATION (USA-INDIA);
* “AUSTRALIA PRIZE" (for DISTINCTIVE WORK) FINALIST 2018.
OFFICIAL URL: http://navonarecords.com/catalog/nv6113/index.html
ABSTRACT
“A music redolent of the past and the future”
Several of the works in this collection feature intricate, a cappella, polychoral-inspired techniques. These include multi-part, multi-divisi, and unusual spatial effects (or cori spezzati – literally “split choirs” – as the technique was referred to in the Renaissance and early Baroque periods). Therefore different sections of the choir, or different “sub-choirs” and/or vocal soloists, are sometimes placed in various arrangements around and above the audience: this ancient technique being pioneered in modern form in “Kyrie”, Op.5, for 21 individual vocal lines – where some singers are stationed in a gallery, and at a distance. Some works also feature echo effects, as well as isorhythmic fragments, melodic and rhythmic hocket, while cross-rhythms and cross-textuality may additionally be involved.
Due to the incorporation of such “polychoral”-derived techniques (in addition to some derived from Medieval music), a striking extra dimension is added both to recordings and to live performances (where the aural “spatial” interest creates a quasi-theatrical effect). The harmonic language is largely built on the composer’s personalised modal foundations, frequently complemented by very subtle use of rhythm and ornament, which can sometimes involve quite elaborate – but always delicate – “filigree”-like patterns.
All but the Kyrie are world première recordings (including the first recording of the choral version of That Time of Year), and were recorded over five separate sessions in the UK and US.
Includes an additional historical and contextual essay by Renaissance and Baroque scholar, Hugh Keyte, leading expert on early polychoralism: "Polychorality: Some Observations".
PROJECT SUMMARY:
This was the first new, large-scale polychoral music research, creation and recording project of modern times, undertaken over two-years with Australia Council sponsorship. Works produced involve intricate, multi-part, multi-divisi and unusual spatial (“split choir”) effects – reimagining ancient techniques in contemporary contexts, all captured via cutting-edge recording technology, and promulgated worldwide.
Composer/academic Jonathan David Little was researcher/co-ordinator for this ambitious AUS$100,000 project, which embraced three continents, involved several large choirs, music directors and their staff, an organist, multiple engineers, producers and assistants (300+ participants). It employed the latest audio technology to produce remarkable results – capturing how different sub-choirs and/or vocal soloists were placed in various arrangements around and above the audience. This revived techniques largely forgotten since such works reached their acoustical zenith in the early Baroque. Ancient techniques were re-invented, derived from those once so brilliantly employed to create extra depth for choral performance in large spaces, so realising "surround-sound"-like effects. In order to aid performers/listeners, diagrams showing the disposition of all the vocal forces involved are printed in the CD booklet.
This project was assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body (Individual International Arts Project Award 2015-17: UK-USA-Australia). Invaluable support was also provided by the Royal Philharmonic Society (UK), through its “ENCORE Choral” Award scheme.
OPEN-ACCESS ONLINE CD BOOKLET (including contextual essay, spatial configuration diagrams, lyrics, pictures and notes):
https://theclassicalstation.org/playlists/conversations-2/conversations-with-composers/#Jonathan%20David%20Little
YOUTUBE WORK LINKS (with SCORES):
1. WOEFULLY ARRAYED: https://www.youtube.com/watch?v=wEiWj_qNcfs
2. KYRIE: https://www.youtube.com/watch?v=VIpvPYo0NAw
3. GLORIA: https://www.youtube.com/watch?v=FI2PvLggGGI
4. WASTED & WORN: https://www.youtube.com/watch?v=ah9T3omlRmc
5. THAT TIME OF YEAR: https://www.youtube.com/watch?v=s4KxrWy9Wpw
6. CRUCIFIXUS [abridged reprise of "Woefully Arrayed"]: https://www.youtube.com/watch?v=oyz9EH8xV8M
CD / HIGH RES / STREAMING LINKS:
https://www.prestomusic.com/classical/products/8338016--woefully-arrayed
https://www.prostudiomasters.com/album/page/14390
https://www.amazon.com/Jonathan-Little-Woefully-Various-artists/dp/B071WT642H
ALL YOUTUBE VIDEOS (with SCORES) - SEE:
https://www.youtube.com/user/Musicalia65/videos
LINK to PODCAST INTERVIEW on WCPE-FM (US) about "POLYCHORAL MUSIC" (7 mins.):
https://theclassicalstation.org/listen/conversations-2/conversations-with-composers/#Jonathan%20David%20Little
KEYWORDS: "Jonathan David Little", polychoral, polychoralism, polychorality, choral music, contemporary choral music, cori spezzati, spatial placement in music, acoustics of performing spaces, Kyrie, Gloria, Woefully Arrayed, Crucifixus, That Time of Year, Wasted and Worn, double choir, triple choir, Vox Futura, Andrew Shenton, Heinrich Christensen, Stanbery Singers, Paul John Stanbery, Thomas Tallis Society Choir, Philip Simms, PARMA, Australia Council
SEE FURTHER: https://www.academia.edu/38490945/Polychorality_Some_Observations_Article_Diagrams_and_Contemporary_Choral_Work_Descriptions_in_Woefully_Arrayed_Sacred_and_Secular_Choral_and_Polychoral_Works_of_Jonathan_David_Little._North_Hampton_NH_USA_PARMA_Recordings_NV6113_2017_2-27
AND: https://www.academia.edu/38453411/The_Profundity_of_Polychoralism_Exploring_the_work_of_Jonathan_David_Little_Composer_Interview_and_CD_review_
AND:
https://www.academia.edu/38574837/_Composing_Polychoral_Music_Resonate_Magazine_22_Oct._2018_ONLINE_BLOG_ARTICLE_
AND:
https://www.academia.edu/38584062/Jonathan_David_Little_Woefully_Arrayed_La_Scena_Musicale_Feb._Mar._2018_32._REVIEW_of_AUDIO_CD_
'The composer also uses astute means of playing with the acoustic properties of the recording space. The placement of singers within that space is meticulously calculated to create certain sonorities. … In summary, Little’s musical style is arrestingly beautiful, and manages to strike a delicate balance between tradition and innovation.’
Arnaud G. Veydarier, 'Jonathan David Little, Woefully Arrayed … Sacred & Secular Choral & Polychoral Works' (CD review), in La Scena Musicale (Feb./Mar. 2018), p.32 (CANADA). English translation by Viviane Reid.
Authority to display and link by kind permission of La Scena Musicale.
MA SCENA ONLINE LINK:
https://myscena.org/arnaud-g-veydarier/cd-review-woefully-arrayed-sacred-secular-choral-polychoral-works/#prettyPhoto
DETAILS OF THE AUDIO CD:
Little, Jonathan D., WOEFULLY ARRAYED: SACRED AND SECULAR CHORAL AND POLYCHORAL WORKS OF JONATHAN DAVID LITTLE [Woefully Arrayed; Kyrie, Gloria; Wasted and Worn; That Time of Year; Woefully Arrayed (Reprise)] [CD]: Vox Futura, directed by Dr. Andrew Shenton (Boston) - with Heinrich Christensen, organ; Stanbery Singers, directed by Paul John Stanbery (Cincinnati); Thomas Tallis Society Choir, directed by Philip Simms (London) (Release date: 14th July 2017) Navona (a fine music label of PARMA Recordings), USA. Cat. No. NV6113. Recording supported by the Australian Government via the Australia Council, and by the Royal Philharmonic Society (UK).
* ROYAL PHILHARMONIC SOCIETY “ENCORE CHORAL” AWARD WINNER (UK);
* ROUNDGLASS “BEST CLASSICAL RECORDING” NOMINATION (USA-INDIA);
* “AUSTRALIA PRIZE" (for DISTINCTIVE WORK) FINALIST 2018.
OFFICIAL URL: http://navonarecords.com/catalog/nv6113/index.html
ABSTRACT
“A music redolent of the past and the future”
Several of the works in this collection feature intricate, a cappella, polychoral-inspired techniques. These include multi-part, multi-divisi, and unusual spatial effects (or cori spezzati – literally “split choirs” – as the technique was referred to in the Renaissance and early Baroque periods). Therefore different sections of the choir, or different “sub-choirs” and/or vocal soloists, are sometimes placed in various arrangements around and above the audience: this ancient technique being pioneered in modern form in “Kyrie”, Op.5, for 21 individual vocal lines – where some singers are stationed in a gallery, and at a distance. Some works also feature echo effects, as well as isorhythmic fragments, melodic and rhythmic hocket, while cross-rhythms and cross-textuality may additionally be involved.
Due to the incorporation of such “polychoral”-derived techniques (in addition to some derived from Medieval music), a striking extra dimension is added both to recordings and to live performances (where the aural “spatial” interest creates a quasi-theatrical effect). The harmonic language is largely built on the composer’s personalised modal foundations, frequently complemented by very subtle use of rhythm and ornament, which can sometimes involve quite elaborate – but always delicate – “filigree”-like patterns.
All but the Kyrie are world première recordings (including the first recording of the choral version of That Time of Year), and were recorded over five separate sessions in the UK and US.
Includes an additional historical and contextual essay by Renaissance and Baroque scholar, Hugh Keyte, leading expert on early polychoralism: "Polychorality: Some Observations".
PROJECT SUMMARY:
This was the first new, large-scale polychoral music research, creation and recording project of modern times, undertaken over two-years with Australia Council sponsorship. Works produced involve intricate, multi-part, multi-divisi and unusual spatial (“split choir”) effects – reimagining ancient techniques in contemporary contexts, all captured via cutting-edge recording technology, and promulgated worldwide.
Composer/academic Jonathan David Little was researcher/co-ordinator for this ambitious AUS$100,000 project, which embraced three continents, involved several large choirs, music directors and their staff, an organist, multiple engineers, producers and assistants (300+ participants). It employed the latest audio technology to produce remarkable results – capturing how different sub-choirs and/or vocal soloists were placed in various arrangements around and above the audience. This revived techniques largely forgotten since such works reached their acoustical zenith in the early Baroque. Ancient techniques were re-invented, derived from those once so brilliantly employed to create extra depth for choral performance in large spaces, so realising "surround-sound"-like effects. In order to aid performers/listeners, diagrams showing the disposition of all the vocal forces involved are printed in the CD booklet.
This project was assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body (Individual International Arts Project Award 2015-17: UK-USA-Australia). Invaluable support was also provided by the Royal Philharmonic Society (UK), through its “ENCORE Choral” Award scheme.
OPEN-ACCESS ONLINE CD BOOKLET (including contextual essay, spatial configuration diagrams, lyrics, pictures and notes):
https://www.navonarecords.com/legacy-catalog/nv6113/booklet---woefully-arrayed---jonathan-little.html
YOUTUBE WORK LINKS (with SCORES):
1. WOEFULLY ARRAYED: https://www.youtube.com/watch?v=wEiWj_qNcfs
2. KYRIE: https://www.youtube.com/watch?v=VIpvPYo0NAw
3. GLORIA: https://www.youtube.com/watch?v=FI2PvLggGGI
4. WASTED & WORN: https://www.youtube.com/watch?v=ah9T3omlRmc
5. THAT TIME OF YEAR: https://www.youtube.com/watch?v=s4KxrWy9Wpw
6. CRUCIFIXUS [abridged reprise of "Woefully Arrayed"]: https://www.youtube.com/watch?v=oyz9EH8xV8M
CD / HIGH RES / STREAMING LINKS:
https://www.prestomusic.com/classical/products/8338016--woefully-arrayed
https://www.prostudiomasters.com/album/page/14390
https://www.amazon.com/Jonathan-Little-Woefully-Various-artists/dp/B071WT642H
ALL YOUTUBE VIDEOS (with SCORES) - SEE:
https://www.youtube.com/user/Musicalia65/videos
LINK to PODCAST INTERVIEW on WCPE-FM (US) about "POLYCHORAL MUSIC" (7 mins.):
https://theclassicalstation.org/listen/conversations-2/conversations-with-composers/#Jonathan%20David%20Little
KEYWORDS: "Jonathan David Little", polychoral, polychoralism, polychorality, choral music, contemporary choral music, cori spezzati, spatial placement in music, acoustics of performing spaces, Kyrie, Gloria, Woefully Arrayed, Crucifixus, That Time of Year, Wasted and Worn, double choir, triple choir, Vox Futura, Andrew Shenton, Heinrich Christensen, Stanbery Singers, Paul John Stanbery, Thomas Tallis Society Choir, Philip Simms, PARMA, Australia Council
SEE FURTHER: https://www.academia.edu/38490945/Polychorality_Some_Observations_Article_Diagrams_and_Contemporary_Choral_Work_Descriptions_in_Woefully_Arrayed_Sacred_and_Secular_Choral_and_Polychoral_Works_of_Jonathan_David_Little._North_Hampton_NH_USA_PARMA_Recordings_NV6113_2017_2-27
AND: https://www.academia.edu/38453411/The_Profundity_of_Polychoralism_Exploring_the_work_of_Jonathan_David_Little_Composer_Interview_and_CD_review_
AND:
https://www.academia.edu/38574837/_Composing_Polychoral_Music_Resonate_Magazine_22_Oct._2018_ONLINE_BLOG_ARTICLE_
AND:
https://www.academia.edu/38583848/LITTLE_Woefully_Arrayed_Gramophone_vol.95_Jan._2018_iii._REVIEW_of_AUDIO_CD_
– Alejandro Clavijo, in Reviews New Age (February, 2012) (Spain)
* "Album des Mes en RNA (Febrero 2012)" (Album of the Month in Reviews New Age, February 2012); Nomination for 'Mejor Álbum RNA de Año' (Best Album of the Year) (Spain)
- Patric Standford
"Very beautiful and restful—sit back and relax.
I have always enjoyed good, quiet choral music of nearly any sort. I admit I am partial to those big works—bombastic or placid—that employ a full choir with orchestra, but sometimes a capella writing and that “church” sound is just what I need. This album is a delight on all fronts.
While I had never heard of Australian composer Jonathan David Little before, I was definitely impressed with his work on these pieces. Little has received many awards and recognitions for his music, including the Professional Development Award from the Musician’s Benevolent Fund in the UK. He studied at the University of Melbourne and taught at the Academy of Contemporary Music in London for a while as a Fellow of the Royal Society of the Arts.
Probably the most unusual aspect of Little’s choral work; certainly of the pieces on this album, is his use of creative and sonically innovative voice placement. The recording and aural display of these works is good. The booklet notes give us a very good explanation and understanding of “polychoral” vocal writing; essentially just what is sounds like. Little achieves unique and beautiful effects through spacing and arrangement of vocal groups. It seems that Little’s techniques are well grounded in both very careful construction of harmonies and voicing as well as in acoustics and the physics of sound.
In fact, two of the most fantastically beautiful works in this collection—Gloria, op.18 and Wasted and Worn, op. 6, also have atypical and unique placement of the singers. (The diagrams in the booklet indicate a genuine precision to Little’s decision making.)
Of the six selections herein, I would be hard pressed to pick a favorite—I greatly enjoyed each of them. Little uses traditional selections from the Latin mass for his sacred texts; for his secular texts he uses poetry and essays from English poets John B.L. Warren and Shakespeare. This album would have direct appeal to anyone with a background in choral music or who likes to listen to a genuinely involving piece of a capella choral music. When I hear music of this sort it reminds in the best possible ways of when I have actually had the pleasure of hearing music by Tallis or Dunstable in a large old marble clad cathedral – all too infrequently truth be told.
The three groups performing here—Vox Futura, the Thomas Tallis Society, and The Stanbery Singers—are all amazing; some of the best groups you will ever hear. Very enjoyable, highly recommend!
—Daniel Coombs"
Public Engagement and Public Presentations by Jonathan David Little
UNDINE PERFORMANCE:
1pm on Saturday 16 September
Assembly Rooms, 82 North Street, Chichester PO19 1LQ.
ABSTRACT
‘Of all fairy tales I know, I think Undine the most beautiful’ - George MacDonald
This one-off musical performance of Friedrich de la Motte Fouqué’s Undine follows the story of the romance between a water-sprite Undine and the Knight Huldbrand. The tale had a profound influence on the 19th century, inspiring operas, ballets and adaptations, including Hans Christian Andersen’s The Little Mermaid and Dvořák’s Rusalka, as well the imagination of Arthur Rackham.
This performance will retell the narrative of Undine, interspersed with some of the most iconic musical versions of the story, all set against Arthur Rackham’s definitive illustrations. This multimedia concert is led and co-ordinated by Victoria Leslie with composer Jonathan Little, and collates various musical treatments of the Undine story interspersed with Rackham's illustrations of Undine and with spoken word.
A University research symposium and musical performance hosted in Chichester on Saturday 16 September will continue the celebrations with a focus on Rackham’s legacy. The day-long event, which starts at 9:30am, will feature fairy tale and folklore scholars examining Rackham’s work and legacy.
The concert performance, with composer Jonathan Little from the University’s Department of Music, retells the narrative of Frederic de la Motte Fouque’s Undine which was illustrated by Rackham.
Researched, compiled and produced by Victoria Leslie and Jonathan David Little.
BIOGRAPHIES
Victoria Leslie’s PhD research explores how early water women narratives, including Friedrich de la Motte Fouque's Undine (later made popular by Arthur Rackham's illustrations) were used by writers at the fin de siècle to discuss women's sexual and political freedom. Her thesis is cross-disciplinary, collaborating with other academics and creative practitioners who are similarly interested in the cross-fertilisation of literature, art and music. Her previous writing has been short-listed for a number of awards, included the Shirley Jackson Award and the World Fantasy Award, and she was awarded fellowships at Hawthornden and the Saari Institute in Finland to research Nordic water myths. Victoria's fiction has accrued many awards and nominations and her debut novel, Bodies of Water is available from Salt Publishing.
Jonathan David Little is Professor of Musical Composition / Music History at the University of Chichester. His atmospheric and evocative music is notable for its mystical beauty, intensity and richness of material. Little was the first Australian-born composer to be awarded the John Clementi Collard Fellowship (2011), one of the most prestigious awards of the City of London’s ancient Worshipful Company of Musicians. His two-volume study of musical and literary orientalism won a Royal Literary Fund Award and he is currently working on further volumes in the series and a major text on musical composition. In 2017 he received “Special Distinction” in the ASCAP Rudolf Nissim Prize (USA) – one of the concert music world’s most esteemed awards.
Radio Broadcasts by Jonathan David Little
A seven-part radio series broadcast on Sundays at 10:30pm fortnightly from 1st April, 1990. Researched, written, presented and produced by Jonathan David Little for 3MBS-FM Fine Music Melbourne.
CULTURAL YEARS - Series / Programme Description:
“Cultural Years” was a seven-part radio series which discussed “Music, the Arts and Society around the time of Seven of the Great 19th- and 20th-century International Exhibitions” (see below).
In examining the ideas which lay behind all of the arts in a given era – in fashion, architecture and landscaping, interior decoration, fine and decorative art, literature, philosophy, social theory and music – I was able to discover the similar aesthetic principles determining the production of works of art, and especially music, as part of the complete picture of Western cultural history during the period, following Professor Warren Allen’s statement that ‘One disappointing, although tacit assumption is that the history of music can be divorced from contemporary events’, and the comment of social music historian, Henry Raynor: ‘With all a reflection’s power of candid criticism, music and art mirrors the real face of the society to which it belongs’. Thus I have attempted to promote the appreciation of all the arts of the recent past by illustrating the connection between them, in order to redress the imbalance caused by modern specialization.
* Part 1: Music, the Arts and Society at the time of the Great Exhibition of 1851
* Part 2: Music, the Arts and Society at the time of the Weltausstellung Wien of 1873 [SCRIPT TWO ATTACHED]
* Part 3: Music, the Arts and Society at the time of the Paris Exposition Universelle of 1889
* Part 4: Music, the Arts and Society at the time of the Paris Exposition Universelle of 1900
* Part 5: Music, the Arts and Society to the eve of the First World War (Exposition Universelle et Industrielle, Ghent - 1913)
* Part 6: Music, the Arts and Society at the time of the Expositión Internacional de Barcelona in 1929
* Part 7: Music, the Arts and Society at the time of the Exposition Internationale des Arts et Techniques dans la Vie Moderne in Paris of 1837
Little, Jonathan D., “Cultural Years: Music, the Arts and Society at the time of the Great International Exhibitions, 1851-1937”, being a series of seven x (average) 90 min. radio programmes [totalling 120,000 words], written and presented for 3MBS-FM Fine Music Radio (Melbourne), and broadcast fortnightly from 1st April, 1990 – with an introductory article in Libretto (April, 1990), p.7: "Cultural Years: An Artistic Treasure Hunt".
SEE: http://eprints.chi.ac.uk/2395/
AND: https://3mbs.org.au/
AND SEE ALSO: https://www.academia.edu/38476532/Cultural_Years_An_Artistic_Treasure_Hunt_Libretto_April_1990_7._RADIO_SERIES_Introduction_and_Description_
[GENERAL INTRODUCTORY ARTICLE & SCRIPT TWO ATTACHED: OTHERS TO COME IN DUE COURSE]
KEYWORDS: Great Exhibition, Exposition Universelle, Weltausstellung Wien, Expositión Internacional, Exposition Universelle et Industrielle, Exposition Internationale des Arts et Techniques dans la Vie Moderne, 1851, 1873, 1889, 1900, 1913, 1929, 1937, "Jonathan David Little"
* DIRECT LINK to PODCAST:
https://theclassicalstation.org/playlists/conversations-2/conversations-with-composers/#Jonathan%20David%20Little
AND/OR SEE: "CONVERSATIONS with COMPOSERS" Series.
[PLAY RELEVANT LINK]
With thanks to interviewer Rob Kennedy and WCPE 89.7 FM "The Classical Station" (North Carolina, USA): https://theclassicalstation.org/
(Interview first broadcast 7pm Eastern Standard Time [US], 17th November 2019.)
"This fall our guests [on Preview!] will include composer Jonathan David Little, conductor Sir Stephen Cleobury, and counter-tenor Anthony Roth Constanzo."
FOLLOW-UP LINKS to POLYCHORAL ALBUM / REVIEW / SAMPLES:
Jonathan David Little: "Woefully Arrayed" [CD album] (Navona NV6113)
* ALBUM: https://www.navonarecords.com/catalog/nv6113/
* REVIEW: https://www.gramophone.co.uk/review/little-woefully-arrayed
* SAMPLES: https://www.prostudiomasters.com/album/page/14390
OTHER RELEVANT LINKS on ACADEMIA
* PROJECT OVERVIEW: https://www.academia.edu/38505604/WOEFULLY_ARRAYED_Sacred_and_Secular_Choral_and_Polychoral_Works_of_Jonathan_David_Little._North_Hampton_NH_USA_PARMA_Recordings_NV6113_2017_._AUDIO_CD_
* FANFARE INTERVIEW (USA): https://www.academia.edu/38453411/The_Profundity_of_Polychoralism_Exploring_the_work_of_Jonathan_David_Little_Fanfare_41_2_2017_121-131._Composer_Interview_and_CD_review_
* AUSTRALIAN MUSIC CENTRE BLOG ARTICLE: https://www.academia.edu/38574837/_Composing_Polychoral_Music_Resonate_Magazine_22_Oct._2018_ONLINE_BLOG_ARTICLE_
* HUGH KEYTE on POLYCHORALITY: https://www.academia.edu/38490945/Polychorality_Some_Observations_Article_Diagrams_and_Contemporary_Choral_Work_Descriptions_in_Woefully_Arrayed_Sacred_and_Secular_Choral_and_Polychoral_Works_of_Jonathan_David_Little._North_Hampton_NH_USA_PARMA_Recordings_NV6113_2017_2-27
* "LA SCENA MUSICALE"' REVIEW (CANADA): https://www.academia.edu/38584062/Jonathan_David_Little_Woefully_Arrayed_La_Scena_Musicale_Feb._Mar._2018_32._REVIEW_of_AUDIO_CD_
* "GRAMOPHONE" REVIEW (NORTH AMERICA): https://www.academia.edu/38583848/LITTLE_Woefully_Arrayed_Gramophone_Vol.95_Jan._2018_iii._REVIEW_of_AUDIO_CD_
KEYWORDS: "Jonathan David Little", polychoral, polychoralism, polychorality, choral music, contemporary choral music, cori spezzati, spatial placement in music, acoustics of performing spaces, Kyrie, Gloria, Woefully Arrayed, Crucifixus, That Time of Year, Wasted and Worn, double choir, triple choir, Vox Futura, Andrew Shenton, Heinrich Christensen, Stanbery Singers, Paul John Stanbery, Thomas Tallis Society Choir, Philip Simms, PARMA, Australia Council
Books (Edited) by Jonathan David Little
With a Foreword by John Kennedy, OBE, former President of Universal Music International, and Chairman of the International Federation of the Phonographic Industry.
Includes several specially commissioned articles by the Consultant Editor, in addition to introductory and linking matter – e.g.:
Little, Jonathan, “DJs”, 129-30; “Financing New Music Business Ventures: An Aide-Memoire”, 322-5; “History of Copyright: A Chronology in Relation to Music”, 339-345; “Labels and Distribution”, 259-60; “Marketing, Management and Finance”, 285-6; “New Artistic Projects: Some Methods of Proceeding”; “Performing”, 63-4; “Songwriting and Composing”, 1; “Recording and Production”, 173-4.
This essential 'black book' to the music industry lists contact names and vital practical advice for producing, selling and performing your music. This expanded edition includes new articles on: How to Approach a Performance, How Vocal Performers Communicate, Recording Acoustic Instruments, The Basics of DJ Technique, The Role of the Musical Director, The A&R Department and Setting up a Studio. Includes information on the Flow of Royalties, New Business Models for Deriving Income, Music industry acronyms and terminology.
Among the many expert contributors: Pete Kirtley, Ivor Novello winning songwriter and producer (Spice Girls, Misteeq, Gareth Gates), Steve Levine, Grammy Award winning producer (Culture Club, The Beach Boys), Colin Emmanual, Producer (Jamelia), Jim Jomoa, professional DJ, Ben Challis, music lawyer (Glastonbury), Keith Lowde, Former Deputy Chairman, Music Copyright Protection Society, Sharon Woolf, songwriter and vocalist (Fatboy Slim, Liberty X), Bill Bruford, drummer extraordinaire, JoJo Gould, Editor of Music Business Journal, Jen Moss, Music Consultant (Boosey & Hawkes), Adrian Winman, Record and Games Producer.
"If knowledge is power, the Musicians' and Songwriters' Yearbook is one of the most potent resources available to anyone in the music business." - "The Works", Magazine of the British Academy of Composers and Songwriters.
Second edition; completely revised and updated each year. (From the publisher of "Writers' and Artists' Yearbook".)
See: http://www.amazon.co.uk/Musicians-Songwriters-Yearbook-2008-Essential/dp/0713684720 [ISBN 0-7136-8472-0].
KEYWORDS: Music Performing, Music Education, Music Industry, Music Composition and Songwriting, British Music Industry, Music Entrepreneurship, "Jonathan David Little"
SEE ALSO: https://www.academia.edu/38499406/New_Artistic_Projects_Some_Methods_of_Proceeding_in_J._Little_and_K._Chatburn_eds._Musicians_and_Songwriters_Yearbook_2008_2nd_edn._._London_A_and_C_Black_2007_pp.121-122
AND: https://www.academia.edu/38499308/Financing_New_Music-Business_Ventures_in_J._Little_and_K._Chatburn_eds._Musicians_and_Songwriters_Yearbook_2008_2nd_edn._._London_A_and_C_Black_2007_pp.322-325
Excerpts reproduced by kind permission of the original Commissioning Editor at A & C Black (Bloomsbury Publishing PLC), and reconfirmed by the Permissions Manager at Bloomsbury Publishing in 2019.
With a Foreword by Peter Reichardt, former Chairman and CEO of EMI Music Publishing. Includes articles commissioned from leading UK music personalities.
The essential `black book' to the music industry, this authoritative reference lists contact names and vital information to enable you to produce, sell and perform your music.
In addition, articles by experts on topics such as; 'Setting Up Your Desktop Studio', 'Music Marketing and Promotion', 'Making a Living as a DJ', 'Digital Downloads' and 'Production Deals and Terms' make the yearbook an essential resource in a fastmoving and complex industry. A book to suit all types of musicians, whether from a rock and pop, jazz or classical background. (From the publisher of "Writers' and Artists' Yearbook".)
Among the many expert contributors: Pete Kirtley, Ivor Novello winning songwriter and producer (Spice Girls, Misteeq, Gareth Gates), Steve Levine, Grammy Award winning producer (Culture Club, The Beach Boys), Colin Emmanual, Producer (Jamelia), Jim Jomoa, professional DJ, Ben Challis, music lawyer (Glastonbury), Keith Lowde, Former Deputy Chairman, Music Copyright Protection Society, Doug Flett, songwriter (Ray Charles, Joe Cocker, Tom Jones), Sharon Woolf, songwriter and vocalist (Fatboy Slim, Liberty X), Bill Bruford, drummer extraordinaire, JoJo Gould, Editor of Music Business Journal.
“'Invaluable to the budding songwriter and musician, by giving them those crucial first contacts.' ” – Peter Reichardt, Former Chairman and CEO of EMI
“'If knowledge is power, the Musicians' and Songwriters' Yearbook is one of the most potent resources currently available to anyone operating in any corner of the music business... It more than justifies its place on the shelf of anyone making or seeking to make their living in the music industry... You'll find this is £14.99 very well spent.'” – The Works, Magazine of British Academy of Songwriters and Composers
“'All types of musicians from rock and pop through to classical should find the book useful.'” – Singing (Summer 2007)
KEYWORDS: Music Performing, Music Education, Music Industry, Music Composition and Songwriting, British Music Industry, Music Entrepreneurship, "Jonathan David Little"
SEE ALSO: https://www.academia.edu/38499406/New_Artistic_Projects_Some_Methods_of_Proceeding_in_J._Little_and_K._Chatburn_eds._Musicians_and_Songwriters_Yearbook_2008_2nd_edn._._London_A_and_C_Black_2007_pp.121-122
AND: https://www.academia.edu/38499308/Financing_New_Music-Business_Ventures_in_J._Little_and_K._Chatburn_eds._Musicians_and_Songwriters_Yearbook_2008_2nd_edn._._London_A_and_C_Black_2007_pp.322-325
Excerpts reproduced by kind permission of the original Commissioning Editor at A & C Black (Bloomsbury Publishing PLC), and reconfirmed by the Permissions Manager at Bloomsbury Publishing in 2019.
These books first laid out and codified the entire one-year DIPLOMA and HIGHER DIPLOMA courses as taught at the Academy of Contemporary Music [ACM], and were produced in three parts annually (one for each of the three Trimesters), as constructed for the following disciplines:
1. VOCALS; 2. GUITAR; 3. BASS; 4. DRUMS; 5. MUSIC PRODUCTION; 6. DJ.
(The corresponding two-year accelerated degree course had its own Handbooks for each particular discipline - including Music Business - which outlined each term's lecture series.)
VISION STATEMENT of the ACADEMY of CONTEMPORARY MUSIC [2003-2005]
"Together, we will build a specialist vocational training centre for the rock and pop music industry. We will work closely with the educational establishment to ensure that our unique training provision is offered to potential artists based upon their talent rather than financial status. When we are finished we will have developed a core business respected by both the music industry and education establishment for both its commercial and vocational achievements. Artists wishing to pursue a career in popular music at all levels will have an accredited study path leading to work."
- Phil Brookes, Founder and Managing Director.
ACM became the UK & European market leader in contemporary music education at this time, and was recognised with the “QUEEN’S AWARD FOR ENTERPRISE (INNOVATION CATEGORY)” in 2008 – the first such recipient music education institution – for both its innovative curriculum, and its integral music industry links.
ACM OVERVIEW: https://www.youtube.com/watch?v=CuSJqCvbTvI
N.B.: The skills initially of Kate Jefferson, and subsequently the expertise of the publishing and design team of Claire and Ian Welch (Peran Publishing) is kindly acknowledged in producing all these volumes annually for over a decade.
Books (Chapters in) by Jonathan David Little
Little, Jonathan D. (2005), 'The Complete Songwriter: An Antidote to Industry Short-Termism' [or, 'The Complete Songwriter/Producer']. Invited contribution in: Heart and Soul: Revealing the Craft of Songwriting. London: Sanctuary, pp. 338-347. ISBN 1-8607-4641-1
ABOUT THIS BOOK:
'Published in celebration of the 50th anniversary of the Ivor Novello Awards, being an Official Guide to Songwriting, commissioned by the British Academy of Composers and Songwriters. With invited contributions from leading songwriters worldwide.
Offering unique access to the words and wisdom of some of the most successful songwriters of the last 50 years, "Heart & Soul - Revealing the Craft of Songwriting" is both a collection of songwriting secrets and an intriguing look into the minds of professional songwriters.
Containing everything an aspiring songwriter needs to know, from how to find inspiration to writing effective lyrics and melodies, and including essential information on the music industry, advice on publishing contracts, as well as the history and future of songwriting. Over 200 No.1 songs have been written between the book’s contributors, making Heart & Soul the most authoritative guide to the craft of songwriting.
With a foreword by Guy Chambers (Robbie Williams’ co-writing partner), the book features exclusive interviews with top songwriters including Don Black, Wayne Hector, Rob Davis and The Darkness and also includes the first published UK joint interview with Holland, Dozier & Holland.
The only songwriting book to be compiled and endorsed by The British Academy of Composers & Songwriters, "Heart & Soul" is being published as part of the 50th Anniversary of the prestigious Ivor Novello Awards. All royalties are donated to The Academy Music Foundation charity.'
KEYWORDS: Songwriting, "Jonathan David Little"
[Excerpt by kind permission of Sanctuary Publishing / Music Sales.]
Papers / Articles by Jonathan David Little
CULTURAL YEARS - Series / Programme Description:
“Cultural Years” was a seven-part radio series which discussed “Music, the Arts and Society around the time of Seven of the Great 19th- and 20th-century International Exhibitions” (see below).
In examining the ideas which lay behind all of the arts in a given era – in fashion, architecture and landscaping, interior decoration, fine and decorative art, literature, philosophy, social theory and music – I was able to discover the similar aesthetic principles determining the production of works of art, and especially music, as part of the complete picture of Western cultural history during the period, following Professor Warren Allen’s statement that ‘One disappointing, although tacit assumption is that the history of music can be divorced from contemporary events’, and the comment of social music historian, Henry Raynor: ‘With all a reflection’s power of candid criticism, music and art mirrors the real face of the society to which it belongs’. Thus I have attempted to promote the appreciation of all the arts of the recent past by illustrating the connection between them, in order to redress the imbalance caused by modern specialization.
* Part 1: Music, the Arts and Society at the time of the Great Exhibition of 1851
* Part 2: Music, the Arts and Society at the time of the Weltausstellung Wien of 1873
* Part 3: Music, the Arts and Society at the time of the Paris Exposition Universelle of 1889
* Part 4: Music, the Arts and Society at the time of the Paris Exposition Universelle of 1900
* Part 5: Music, the Arts and Society to the eve of the First World War (Exposition Universelle et Industrielle, Ghent - 1913)
* Part 6: Music, the Arts and Society at the time of the Expositión Internacional de Barcelona in 1929
* Part 7: Music, the Arts and Society at the time of the Exposition Internationale des Arts et Techniques dans la Vie Moderne in Paris of 1837
SEE: http://eprints.chi.ac.uk/2395/
AND: https://3mbs.org.au/
AND SEE ALSO: https://www.academia.edu/38476343/Cultural_Years_Music_the_Arts_and_Society_around_the_time_of_Seven_of_the_Great_19th-_and_20th-Century_International_Exhibitions_1851-1937._Melbourne_3MBS-FM_Fine_Music_1990_._RADIO_SERIES_
KEYWORDS: Great Exhibition, Exposition Universelle, Weltausstellung Wien, Expositión Internacional, Exposition Universelle et Industrielle, Exposition Internationale des Arts et Techniques dans la Vie Moderne, 1851, 1873, 1889, 1900, 1913, 1929, 1937, "Jonathan David Little"
PROJECT TITLE:
International Polychoral Music Research, Creation and Recording Project* (part-sponsored by an Australia Council Individual International Arts Project Award 2015-17).
*Finalist, "2018 Australia Prize for Distinctive Work". (Sponsored by Routledge, the "Distinctive Work" Prize is for an exceptional artistic performance, exhibition, film, television show, play, composition or practical contribution to arts policy. Awarded by the Council for the Humanities, Arts & Social Sciences [CHASS Australia].)
SEE: http://www.chass.org.au/wp-content/uploads/2018/09/Media-release_2018-CHASS-Australia-Prizes-Shortlists-Announced.pdf
This two-year polychoral music project (2015-17), saw its subsequent CD release, "Woefully Arrayed" (on Navona NV6113, USA), receive the highest international plaudits. Featuring three leading choirs from the US and USA - "Woefully Arrayed" was nominated in America for "Best Classical Music Recording" at the inaugural RoundGlass Global Music Awards 2018 (26th January, Edison Ballroom, New York), while its "Kyrie" was British winner of a BBC Radio 3 / Royal Philharmonic Society "Encore Choral" Award.
PROJECT SUMMARY:
This was the first new, large-scale polychoral music research, creation and recording project of modern times, undertaken over two-years with Australia Council sponsorship. Works produced involve intricate, multi-part, multi-divisi and unusual spatial (“split choir”) effects – re-imagining ancient techniques in contemporary contexts, all captured via cutting-edge recording technology, and promulgated worldwide.
Composer/academic Jonathan David Little was researcher/co-ordinator for this ambitious AUS$100,000 project, which embraced three continents, involved several large choirs, music directors and their staff, an organist, multiple engineers, producers and assistants (300+ participants). It employed the latest audio technology to produce remarkable results – capturing how different "sub-choirs" and/or vocal soloists were placed in various arrangements around and above the audience (occasionally also involving movement). This revived techniques largely forgotten since such works reached their acoustical zenith in the early Baroque. Ancient techniques were re-invented, derived from those once so brilliantly employed to create extra depth for choral performance in large spaces, so realising "surround-sound"-like effects. In order to aid performers/listeners, diagrams showing the disposition of all the vocal forces involved are printed in the CD booklet (Navona NV6113, 2017).
One aim was to generate interest in largely long-forgotten, but still hugely useful and aurally impressive composition methods. Following a period of research and experimentation, several new, accessible choral works were created – most featuring intricate, a cappella, polychoral-inspired techniques. Due to the incorporation of such techniques, a striking extra dimension is added both to recordings and live performances – where the aural “spatial” interest creates a quasi-theatrical effect.
OPEN-ACCESS ONLINE CD BOOKLET (including contextual essay, spatial configuration diagrams, lyrics, pictures and notes): https://www.navonarecords.com/legacy-catalog/nv6113/booklet---woefully-arrayed---jonathan-little.html
YOUTUBE WORK LINKS (with SCORES):
1. WOEFULLY ARRAYED: https://www.youtube.com/watch?v=wEiWj_qNcfs
2. KYRIE: https://www.youtube.com/watch?v=VIpvPYo0NAw
3. GLORIA: https://www.youtube.com/watch?v=FI2PvLggGGI
4. WASTED & WORN: https://www.youtube.com/watch?v=ah9T3omlRmc
5. THAT TIME OF YEAR: https://www.youtube.com/watch?v=s4KxrWy9Wpw
6. CRUCIFIXUS [abridged reprise of "Woefully Arrayed"]: https://www.youtube.com/watch?v=oyz9EH8xV8M
CD / HIGH RES / STREAMING LINKS:
https://www.prestomusic.com/classical/products/8338016--woefully-arrayed
https://www.prostudiomasters.com/album/page/14390
https://www.amazon.com/Jonathan-Little-Woefully-Various-artists/dp/B071WT642H
ALL YOUTUBE VIDEOS (with SCORES) - SEE:
https://www.youtube.com/user/Musicalia65/videos
“The lost potential of the acoustics of performing spaces begins to be rediscovered in these works.”
LINK to PODCAST INTERVIEW on WCPE-FM (US) about "POLYCHORAL MUSIC" (7 mins.):
https://theclassicalstation.org/podcasts/jonathan_david_little_woefully_arrayed.mp3
SEE FURTHER: https://www.academia.edu/38505604/Woefully_Arrayed_Sacred_and_Secular_Choral_and_Polychoral_Works_of_Jonathan_David_Little._North_Hampton_NH_USA_PARMA_Recordings_NV6113_2017_._AUDIO_CD_
AND: https://www.academia.edu/38453411/The_Profundity_of_Polychoralism_Exploring_the_work_of_Jonathan_David_Little_Fanfare_41_2_2017_121-131._Composer_Interview_and_CD_review_
AND:
https://www.academia.edu/38574837/_Composing_Polychoral_Music_Resonate_Magazine_22_Oct._2018_ONLINE_BLOG_ARTICLE_
KEYWORDS: "Jonathan David Little", polychoral, polychoralism, polychorality, choral music, contemporary choral music, cori spezzati, spatial placement in music, acoustics of performing spaces, Kyrie, Gloria, Woefully Arrayed, Crucifixus, That Time of Year, Wasted and Worn, double choir, triple choir, Vox Futura, Andrew Shenton, Heinrich Christensen, Stanbery Singers, Paul John Stanbery, Thomas Tallis Society Choir, Philip Simms, PARMA, Australia Council
Besides the published version, also attached is the original and full, unabridged, 14-page draft text (4000 vs. 2500 words).
KEYWORDS: Oriental, Gothic, Orientalism, Literary Orientalism, "Jonathan David Little"
It was almost entirely due to the taste for the "exotic" that the art of the nineteenth century came to display a focus on colour and technique unknown before. If colour and attention to detail do indeed "abound in all aspects of Oriental life", then these are precisely the qualities that one must look for in art which is inspired by the Orient (Freeman et al. 1990: 25) ... [and it] was as a direct consequence of the nineteenth-century penchant for exotic and "Oriental" art that "programmatic" or descriptive forms of expression rose to new heights. ... Indeed, musical Orientalism can be said to have played a major role in revitalizing a variety of musical parameters - formal, harmonic and metrical - but especially instrumental "colour" ...
As published in FoMRHI Quarterly [Journal of the Fellowship of Makers and Researchers of Historic Instruments]. Publisher: Jeremy Montagu, Oxford.
Little, Jonathan D. (2001), Oriental Colour and Atmosphere: Why Exotic Colour became Prominent in 19th- and early 20th-Century Orchestration. FoMRHI Quarterly [Journal of the Fellowship of Makers and Researchers of Historic Instruments] (102), pp. 23-28 (comm.1745).
KEYWORDS: exoticism, musical orientalism, Romantic, programmatic, programme music, local colour, Charles-Marie Widor, La Technique de I'orchestre moderne, Principles of Orchestration, Rimsky-Korsakov, Charles Blanc, Delacroix, "Jonathan David Little"
SEE ALSO: https://www.academia.edu/38444533/Musical_Instruments_Evocative_of_the_Ancient_Orient_FoMRHI_Quarterly_99_April_2000_21-30_comm.1707_
AND: https://www.academia.edu/38444573/On_Western_Travellers_who_described_and_drew_inspiration_from_Eastern_instruments_and_music_ca._1830s-1850s_FoMRHI_Quarterly_98_Jan._2000_41-45_comm.1690_
AND:
https://www.academia.edu/38460836/Nostalgia_Exoticism_and_Brilliant_Colour_Arts_Rondo_Winter_1992_25-30
TABLE OF CONTENTS
Acknowledgements
Introduction
Chapter 1 - A Background to Auden's poem and Britten's setting
Chapter 2 - An analysis of Auden's "Anthem"
Chapter 3 - Britten's formal construction
Chapter 4 - Harmonic and rhythmic elements in Britten's "Hymn"
Chapter 5 - Britten's aims
Appendix
Discography
Bibliography
INTRODUCTION
There are two reasons for examining Britten's "Hymn to St. Cecilia", op.27: firstly, because it is a tremendously beautiful and moving work despite its apparent simplicity; secondly, and in consequence, to discover how Britten set to music such a vivid and profoundly philosophical text. This thesis is in essence a study of compositional method.
Auden's poem itself is complex both in terms of its construction and its meaning, and it is essential to try to look within the poem on a technical level and also to discover any personal associations it may have had for Auden, beyond his task of writing about the patron saint of music. These may be characterised as
(1): Auden and his relationship with and understanding of Britten; and
(2): Auden and religion. The first and second chapters in particular address these issues.
The third chapter attempts to examine Britten's formal construction on an overall and detailed level, with direct relation to Auden's own construction, allowing for differences of artistic medium of course. The next chapter views elements of Britten's rhythmic and harmonic construction, and it has been necessary to treat these two musical parameters together as they are inextricable.
Much more detail could be drawn out than is presented here. There are no detailed analyses of either the poem or the music in any other reference work to this date, and therefore the author must take full responsibility for the writing presented within. Certain subjective comments must be part and parcel of an analysis of a work of art, as must the technical aspects. Hopefully they will at least stimulate further thought on the musical setting, and the philosophy it attempts to reflect.
- "a useful critical guide to the work" - Dr. Craig Ayrey, Goldmiths College, University of London
- "there is no published study of this kind, to my knowledge, and no published study of the music that attempts as detailed a consideration of the relationship between text and music as this" - Dr. Christopher Mark, University of Surrey
KEYWORDS: Benjamin Britten, W. H. Auden, Hymn to St. Cecilia, Anthem for St. Cecilia's Day, Song for St. Cecilia, "Jonathan David Little"
The European view of the 'Orient' is demonstrated as being largely an idealization – but an extremely fruitful one. Had not composers perceived the 'Orient' to be some kind of Paradise, their imaginations would never have risen to such extraordinary heights. Part of this process of idealization was a reaction against the imaginative restrictions felt to have been imposed on artists by the rise of the 'super-civilized' modern industrial society. In spite of material 'progress', a gnawing sense of spiritual loss throughout Western societies fostered a feeling of nostalgia for a departed 'Golden Age', and a desire to be 'elsewhere' than Western Europe – physically or imaginatively.
Expansion by the European powers and colonization of lands considered in the nineteenth century to be 'Oriental' stimulated an increasing interest in such regions. This interest in turn provided creative artists with a new type of aesthetic 'raw material' ripe for exploitation. The European imagination became intoxicated with the unusual and strangely attractive nature of the 'Orient'. A new 'geographic' perspective entered music as composers attempted to render in orchestral terms sounds suggesting travel by land or sea, 'bizarre' and 'remote' atmospheric qualities, and especially the instruments, dances and all kinds of natural environmental elements associated with the particular 'local colour' of an 'Oriental' region and its inhabitants. Composers increasingly began to treat the orchestra as a giant experimental 'paint box' in their efforts to conjure up the atmosphere of the 'East'. An unprecedented focus on music filled with 'colour and light' was engendered by the contemporary interest in the 'Orient', and it led to the creation of new types of orchestral figuration and timbres. Such descriptive orchestral writing was eminently suited to, and promoted the development of, 'programmatic' music.
Nineteenth-century Orientalism is shown to have been a more important and vital influence in the development of European creative and imaginative endeavour than has previously been appreciated. The art of orchestration affords a particularly fine technical manifestation of the phenomenon.
Little, Jonathan D. (1994) Sources of Nineteenth-Century Musical Orientalism, or, From "Oriental" Inspiration to Exotic Orchestration: The Extra-Musical Stimuli behind Composers' Attempts to Achieve "Exotic" Programmatic Effects in Orchestral Music, ca. 1840-1920. [565pp. (170,000 words, in 2 parts bound as one), illus., tbls., mus. exx., works lst., discog., bibliog.]. [Doctoral thesis, Monash University, manuscript.]
Includes ca.100 pages of full score orchestral and operatic musical examples not included in the 2 published volumes arising from this thesis.
EXACTLY AS DESCRIBED in "DOCTORAL DISSERTATIONS IN MUSICOLOGY", 2nd Cumulative Edition (1996), with corrections and updates [ROMANTIC PERIOD]:
Little, Jonathan David. Sources of Nineteenth-Century Musical Orientalism, or, From "Oriental" Inspiration to Exotic Orchestration: The Extra-Musical Stimuli behind Composers' Attempts to Achieve "Exotic" Programmatic Effects in Orchestral Music, ca. 1840-1920. Ph.D., Music, Monash University, 1995. 560 p. illus., tbls., mus. exs., works lst., discog., bibliog. DDM Code: 61orLitJ; DA no.: RILM no.: 95:4810dd; UM no.:
Monash University Library Call No. 9923116601751; MICROFICHE 2475/3048; MA; THS-MF; L777; OS; YOS-THS
* Classified “outstanding” in Examination Assessment
* Awarded a Monash University Postgraduate Publication Award (1994-95) to prepare this research for publication in article/book form (as 2 vols.).
[OF THE (then) UNPUBLISHED DISSERTATION, also separately described (unsolicited) as:]
“outstanding” - Professor Werner Sollors, Henry B. and Anne M. Cabot Professor of English and of African American Studies, Harvard University, and Global Professor of Literature at New York University Abu Dhabi, in "Neither Black nor White Yet Both: Thematic Explorations of Interracial Literature", New York: Oxford University Press (see Acknowledgements page).
OVERALL MULTI-VOLUME PROJECT DESCRIPTION:
https://www.powerpresskits.com/Users/5816/PDFs/937a692c-55e5.pdf
SEE FURTHER THE TWO PUBLISHED VOLUMES ARISING FROM THIS RESEARCH (which cover most of its contents):
https://mellenpress.com/author/jonathan-david-little/7329/
VOL. 1. DESCRIBED:
https://www.academia.edu/38435892/The_Influence_of_European_Literary_and_Artistic_Representations_of_the_Orient_on_Western_Orchestral_Compositions_ca.1840-1920_From_Oriental_Inspiration_to_Exotic_Orchestration._New_York_EMP_2010._OPENING_PAGES_with_INTRODUCTION_ONLY_to_p.14_for_review_
To obtain:
https://www.amazon.com/Influence-Representations-Orchestral-Compositions-1840-1920/dp/0773414266
VOL. 2. DESCRIBED:
https://www.academia.edu/38441300/Literary_Sources_of_Nineteenth_Century_Musical_Orientalism_The_Hypnotic_Spell_of_the_Exotic_on_Music_of_the_Romantic_Period._New_York_EMP_2011._OPENING_PAGES_with_INTRODUCTION_ONLY_to_p.4_for_review_
To obtain:
https://www.amazon.com/Literary-Sources-Nineteenth-Century-Musical-Orientalism/dp/077341553X/ref=sr_1_9?s=books&ie=UTF8&qid=1551183902&sr=1-9
REVIEWS OF THE [LATER] TWO PUBLISHED VOLUMES:
VOL. 1. https://www.jstor.org/stable/24330441?seq=1#page_scan_tab_contents
VOL. 2. https://www.jstor.org/stable/24330442?seq=1#page_scan_tab_contents
A NOTE ON THE DIFFERENCES BETWEEN THIS DOCTORAL THESIS AND THE TWO SUBSEQUENT VOLUMES DERIVED FROM ITS MATERIAL, AS PUBLISHED BY EDWIN MELLEN PRESS [EMP]:
MOST (but not all) material in this extensive dissertation has found its way into the TWO Edwin Mellen books described above, though the order is slightly rearranged, and the text is also made slightly more concise in the books, and less quotation is used. What does not appear in the books (for copyright and complexity / expense reasons) are most of the 100 or so pages of full score musical examples (mainly orchestral / operatic), which help musically illustrate all the arguments. So, in order to read the thesis as originally written, you probably need to apply for a copy of the microfiche of it which was made by Monash University Library in Australia [SEE DETAILS IN THE DOWNLOAD] - or, failing that, buy or borrow from a library the two EMP books that cover most of its contents. As far as I am aware, it is only more recently that EMP are also making digital versions of their books available (for sale), so to date (early 2019) I do not think these books are (at least legitimately) yet issued in digital format, and even if/when they are, they may not be able to include all the integral illustrations and the musical examples that are featured in the two books. (The second volume, "Literary Sources ...", is even more profusely illustrated than the first, "The Influence of ...".)
MONASH UNIVERSITY LIBRARY CALL NUMBER:
9923116601751; MICROFICHE2475/3048; MA; THS-MF; L777;OS; YOS-THS
N.B.: Edwin Mellen Press was the only publishing house able and willing to publish all this material without the substantial cuts required by most other publishing houses (for no other reason, ultimately, than in order to fit their standard "formats" - but which would have greatly damaged the integrity of the whole). Mellen Press were, in this instance, also willing to include many more illustrations than other presses, which has also proved of great assistance within the resulting publications.
KEYWORDS: musical orientalism, orchestration, literary orientalism, programme music, illustrative music, 19th-century cultural history, "Jonathan David Little"
The European view of the 'Orient' is demonstrated as being largely an idealization – but an extremely fruitful one. Had not composers perceived the 'Orient' to be some kind of Paradise, their imaginations would never have risen to such extraordinary heights. Part of this process of idealization was a reaction against the imaginative restrictions felt to have been imposed on artists by the rise of the 'super-civilized' modern industrial society. In spite of material 'progress', a gnawing sense of spiritual loss throughout Western societies fostered a feeling of nostalgia for a departed 'Golden Age', and a desire to be 'elsewhere' than Western Europe – physically or imaginatively.
Expansion by the European powers and colonization of lands considered in the nineteenth century to be 'Oriental' stimulated an increasing interest in such regions. This interest in turn provided creative artists with a new type of aesthetic 'raw material' ripe for exploitation. The European imagination became intoxicated with the unusual and strangely attractive nature of the 'Orient'. A new 'geographic' perspective entered music as composers attempted to render in orchestral terms sounds suggesting travel by land or sea, 'bizarre' and 'remote' atmospheric qualities, and especially the instruments, dances and all kinds of natural environmental elements associated with the particular 'local colour' of an 'Oriental' region and its inhabitants. Composers increasingly began to treat the orchestra as a giant experimental 'paint box' in their efforts to conjure up the atmosphere of the 'East'. An unprecedented focus on music filled with 'colour and light' was engendered by the contemporary interest in the 'Orient', and it led to the creation of new types of orchestral figuration and timbres. Such descriptive orchestral writing was eminently suited to, and promoted the development of, 'programmatic' music.
Nineteenth-century Orientalism is shown to have been a more important and vital influence in the development of European creative and imaginative endeavour than has previously been appreciated. The art of orchestration affords a particularly fine technical manifestation of the phenomenon.
Contains 31 black and white photographs and 15 color photographs.
REVIEWS:
“In short, this study . . . is a valuable contribution in both understanding the development of the modern symphony orchestra, as well as the compositional approaches made by the many composers who have rewarded us today with some of the finest works in the orchestral repertoire.” – Prof. Craig De Wilde, National University of Singapore (from the Foreword)
“... composer-scholar-writer Jonathan David Little provides a wide-ranging prospect … a detailed yet accessible descriptive account of its subject, equally able to stand alone or as a partner to the author's second volume. ... it should serve very well indeed the undergraduate or the historically poled graduate, whether in music or literature, as well as the general reader and music lover.” – Prof. Elizabeth Markham, Ph.D.(Cantab.), University of Arkansas, in Fontes Artis Musicae, Vol.61, Issue 2 (Apr-Jun 2014), pp.203-5.
“outstanding” - Professor Werner Sollors, Henry B. and Anne M. Cabot Professor of English and of African American Studies, Harvard University, and Global Professor of Literature at New York University Abu Dhabi, in "Neither Black nor White Yet Both: Thematic Explorations of Interracial Literature", New York: Oxford University Press (see Acknowledgements page).
FULL REVIEW AT:
https://www.jstor.org/stable/24330441?seq=1#page_scan_tab_contents
https://www.researchgate.net/publication/330142800_Jonathan_D_Little_The_Influence_of_European_Literary_and_Artistic_Representations_of_the_'Orient'_on_Western_Orchestral_Compositions_Ca_1840_-_1920_From_Oriental_Inspiration_to_'Exotic'_Orchestration_
To obtain and read a sample online:
https://www.amazon.com/Influence-Representations-Orchestral-Compositions-1840-1920/dp/0773414266
CONTENTS
Foreword by Associate Professor Craig De Wilde
Prefatory Remarks and Acknowledgements
Introduction
PART 1 The Orient: 'as image or as thought'
Chapter 1: Understanding the Retreat to the 'Exotic'
Chapter 2: Defining the 'Orient'
PART 2 The Historical Background
Chapter 3: Pilgrimages to the 'Orient'
a) The Politics of the Middle East
b) Music and Musicians among 'the splendour and havoc of the East'
c) En Espagne
Chapter 4: Sailor Musicians and Musical Travelogues
Chapter 5: Universal Expositions and the Inspiration of Contemporary Events
Chapter 6: Diaghilev's Ballets Russes
Conclusion
Postscript on Colour and Atmosphere
Appendix - A guide to the 'lingua franca' of Musical Orientalism
An explanation of the fundamental 'Eastern' traits imitated by Western composers, including a list of the most characteristic 'formulae' employed by them to create 'Oriental' atmospheres
Bibliography
Index
Lewiston, NY, USA; Queenston, Canada; Lampeter, Wales: EMP, Nov. 2010.
Foreword by Professor Craig De Wilde (University of Singapore).
ISBN10: 0-7734-1426-6 ISBN13: 978-0-7734-1426-6; 492pp. ASIN: 0773414266
Hardback $159.95 / £94.95 & Paperback formats
DDC: 784.159; Orchestral Music: 19th/20th Century; History & Criticism.
Sold as a set of two books (totalling 900pp.), as well as individually, with its companion volume (below).
Companion volume from the same publisher:
Literary Sources of Nineteenth Century Musical Orientalism: The Hypnotic Spell of the Exotic on Music of the Romantic Period (2011)
OVERALL MULTI-VOLUME PROJECT DESCRIPTION:
https://www.powerpresskits.com/Users/5816/PDFs/937a692c-55e5.pdf
VOLUMES PUBLISHED TO DATE:
https://mellenpress.com/author/jonathan-david-little/7329/
VOL. 2. DESCRIBED:
https://www.academia.edu/38441300/Literary_Sources_of_Nineteenth_Century_Musical_Orientalism_The_Hypnotic_Spell_of_the_Exotic_on_Music_of_the_Romantic_Period._New_York_EMP_2011._OPENING_PAGES_with_INTRODUCTION_ONLY_to_p.4_for_review_
KEYWORDS: musical orientalism, orchestration, literary orientalism, programme music, illustrative music, 19th-century cultural history, "Jonathan David Little"
[Excerpt by kind permission of EMP.]
The European view of the 'Orient' is demonstrated as being largely an idealization – but an extremely fruitful one. Had not composers perceived the 'Orient' to be some kind of Paradise, their imaginations would never have risen to such extraordinary heights. Part of this process of idealization was a reaction against the imaginative restrictions felt to have been imposed on artists by the rise of the 'super-civilized' modern industrial society. In spite of material 'progress', a gnawing sense of spiritual loss throughout Western societies fostered a feeling of nostalgia for a departed 'Golden Age', and a desire to be 'elsewhere' than Western Europe – physically or imaginatively.
Expansion by the European powers and colonization of lands considered in the nineteenth century to be 'Oriental' stimulated an increasing interest in such regions. This interest in turn provided creative artists with a new type of aesthetic 'raw material' ripe for exploitation. The European imagination became intoxicated with the unusual and strangely attractive nature of the 'Orient'. A new 'geographic' perspective entered music as composers attempted to render in orchestral terms sounds suggesting travel by land or sea, 'bizarre' and 'remote' atmospheric qualities, and especially the instruments, dances and all kinds of natural environmental elements associated with the particular 'local colour' of an 'Oriental' region and its inhabitants. Composers increasingly began to treat the orchestra as a giant experimental 'paint box' in their efforts to conjure up the atmosphere of the 'East'. An unprecedented focus on music filled with 'colour and light' was engendered by the contemporary interest in the 'Orient', and it led to the creation of new types of orchestral figuration and timbres. Such descriptive orchestral writing was eminently suited to, and promoted the development of, 'programmatic' music.
Nineteenth-century Orientalism is shown to have been a more important and vital influence in the development of European creative and imaginative endeavour than has previously been appreciated. The art of orchestration affords a particularly fine technical manifestation of the phenomenon.
This second volume concentrates largely on the literary stimuli acting on some of the most vibrant 'Oriental' music of the period.
REVIEWS:
“outstanding” - Professor Werner Sollors, Henry B. and Anne M. Cabot Professor of English and of African American Studies, Harvard University, and Global Professor of Literature at New York University Abu Dhabi, in "Neither Black nor White Yet Both: Thematic Explorations of Interracial Literature", New York: Oxford University Press (see Acknowledgements page).
"... this volume is a huge resource ... invaluable for both the student of literature and music (undergraduate and graduate) as well as for the music lover, alone for the vastness of the material it gathers together." - Prof. Elizabeth Markham, PhD (Cantab.), University of Arkansas, in Fontes Artis Musicae, Vol.61, Issue 2 (Apr-Jun 2014), pp.205-7.
“This book is a ‘must read’ for Romantic Period scholars of both literary and music histories. It makes a fine complement to the author’s important previous volume.” - Prof. Craig De Wilde, National University of Singapore
“Besides being a fine work of scholarship, this book is a pleasure to read. And this volume is the first of its type to survey so comprehensively the major sources of literary inspiration for western composers who sought to depict in their musical works an ‘Eastern’ flavor.” - Prof. Emer. Dolores M. Hsu, University of California, Santa Barbara (from the Foreword)
FULL REVIEW AT:
https://www.jstor.org/stable/24330442?seq=1#page_scan_tab_contents
https://www.researchgate.net/publication/330142882_Jonathan_D_Little_Literary_Sources_of_Nineteenth-Century_Musical_Orientalism_The_Hypnotic_Spell_of_the_Exotic_on_Music_of_the_Romantic_Period_pp_314_Lewiston_The_Edwin_Mellen_Press_2011
To obtain and read a sample online:
https://www.amazon.com/Literary-Sources-Nineteenth-Century-Musical-Orientalism/dp/077341553X/ref=sr_1_9?s=books&ie=UTF8&qid=1551183902&sr=1-9
CONTENTS
Foreword by Emeritus Professor Dolores M. Hsu
Prefatory Remarks and Acknowledgements
Introduction
Chapter 1: Oriental Dreams: The Romantic Outlook and 'Oriental' Literature
Chapter 2: Three 'Oriental' Literary Sources
a) The Bible
b) Salammbô
c) Lalla Rookh
Chapter 3: Arabian Nights
Chapter 4: Musical Instruments suggestive of the Ancient Orient
Appendix - Landmarks of Musical Orientalism
A selected chronological list of operatic and orchestral works with some relation to 'Oriental' themes
Bibliography
Index
[80,000 WORDS; 81 PLATES; LINE DRAWINGS + MUS. EXX.]
Lewiston, NY, USA; Queenston, Canada; Lampeter, Wales: EMP, 15th July 2011).
Foreword by Emeritus Professor Dolores M. Hsu (University of California, Santa Barbara).
ISBN10: 0-7734-1553-X ISBN13: 978-0-7734-1553-9; 468pp.
Hardback $179.95 / £104.95 & Paperback formats. [VOL. 2 of 2]
DDC: 784.159; Orchestral Music: 19th/20th Century; History & Criticism.
Sold as a set of two books (totalling 900pp.), as well as individually, with its companion volume (below).
Companion volume from the same publisher:
The Influence of European Literary and Artistic Representations of the 'Orient' on Western Orchestral Compositions, ca. 1840-1920: From Oriental Inspiration to 'Exotic' Orchestration (2010)
OVERALL MULTI-VOLUME PROJECT DESCRIPTION:
https://www.powerpresskits.com/Users/5816/PDFs/937a692c-55e5.pdf
VOLUMES PUBLISHED TO DATE:
https://mellenpress.com/author/jonathan-david-little/7329/
VOL. 1. DESCRIBED:
https://www.academia.edu/38435892/The_Influence_of_European_Literary_and_Artistic_Representations_of_the_Orient_on_Western_Orchestral_Compositions_ca.1840-1920_From_Oriental_Inspiration_to_Exotic_Orchestration._New_York_EMP_2010._OPENING_PAGES_with_INTRODUCTION_ONLY_to_p.14_for_review_
KEYWORDS: musical orientalism, orchestration, literary orientalism, programme music, illustrative music, 19th-century cultural history, "Jonathan David Little"
[Excerpt by kind permission of EMP.]
“The best way to experience the works by Jonathan David Little on this disc may not be through the recording, though by all means partake of it. The Australian-born composer has cast his resplendent sacred and secular pieces in the polychoral style of the Renaissance and early Baroque, calling for choral forces to be placed in various configurations and spaces to achieve the intended sonic and expressive effect. Although much of the impact can be discerned through speakers or earbuds, hearing them in an actual acoustic environment would add even more lustre."
Donald Rosenberg [Editor, Early Music America], “LITTLE Woefully Arrayed …” (CD review), in Gramophone, Vol.95 (Jan. 2018) [North American edition, “Sounds of America” supplement, iii] (UK/NORTH AMERICA)
Authority to display and link by kind permission of Gramophone Magazine.
GRAMOPHONE ONLINE LINK: https://www.gramophone.co.uk/review/little-woefully-arrayed
DETAILS OF THE AUDIO CD:
Little, Jonathan D., WOEFULLY ARRAYED: SACRED AND SECULAR CHORAL AND POLYCHORAL WORKS OF JONATHAN DAVID LITTLE [Woefully Arrayed; Kyrie, Gloria; Wasted and Worn; That Time of Year; Woefully Arrayed (Reprise)] [CD]: Vox Futura, directed by Dr. Andrew Shenton (Boston) - with Heinrich Christensen, organ; Stanbery Singers, directed by Paul John Stanbery (Cincinnati); Thomas Tallis Society Choir, directed by Philip Simms (London) (Release date: 14th July 2017) Navona (a fine music label of PARMA Recordings), USA. Cat. No. NV6113. Recording supported by the Australian Government via the Australia Council, and by the Royal Philharmonic Society (UK).
* ROYAL PHILHARMONIC SOCIETY “ENCORE CHORAL” AWARD WINNER (UK);
* ROUNDGLASS “BEST CLASSICAL RECORDING” NOMINATION (USA-INDIA);
* “AUSTRALIA PRIZE" (for DISTINCTIVE WORK) FINALIST 2018.
OFFICIAL URL: http://navonarecords.com/catalog/nv6113/index.html
ABSTRACT
“A music redolent of the past and the future”
Several of the works in this collection feature intricate, a cappella, polychoral-inspired techniques. These include multi-part, multi-divisi, and unusual spatial effects (or cori spezzati – literally “split choirs” – as the technique was referred to in the Renaissance and early Baroque periods). Therefore different sections of the choir, or different “sub-choirs” and/or vocal soloists, are sometimes placed in various arrangements around and above the audience: this ancient technique being pioneered in modern form in “Kyrie”, Op.5, for 21 individual vocal lines – where some singers are stationed in a gallery, and at a distance. Some works also feature echo effects, as well as isorhythmic fragments, melodic and rhythmic hocket, while cross-rhythms and cross-textuality may additionally be involved.
Due to the incorporation of such “polychoral”-derived techniques (in addition to some derived from Medieval music), a striking extra dimension is added both to recordings and to live performances (where the aural “spatial” interest creates a quasi-theatrical effect). The harmonic language is largely built on the composer’s personalised modal foundations, frequently complemented by very subtle use of rhythm and ornament, which can sometimes involve quite elaborate – but always delicate – “filigree”-like patterns.
All but the Kyrie are world première recordings (including the first recording of the choral version of That Time of Year), and were recorded over five separate sessions in the UK and US.
Includes an additional historical and contextual essay by Renaissance and Baroque scholar, Hugh Keyte, leading expert on early polychoralism: "Polychorality: Some Observations".
PROJECT SUMMARY:
This was the first new, large-scale polychoral music research, creation and recording project of modern times, undertaken over two-years with Australia Council sponsorship. Works produced involve intricate, multi-part, multi-divisi and unusual spatial (“split choir”) effects – reimagining ancient techniques in contemporary contexts, all captured via cutting-edge recording technology, and promulgated worldwide.
Composer/academic Jonathan David Little was researcher/co-ordinator for this ambitious AUS$100,000 project, which embraced three continents, involved several large choirs, music directors and their staff, an organist, multiple engineers, producers and assistants (300+ participants). It employed the latest audio technology to produce remarkable results – capturing how different sub-choirs and/or vocal soloists were placed in various arrangements around and above the audience. This revived techniques largely forgotten since such works reached their acoustical zenith in the early Baroque. Ancient techniques were re-invented, derived from those once so brilliantly employed to create extra depth for choral performance in large spaces, so realising "surround-sound"-like effects. In order to aid performers/listeners, diagrams showing the disposition of all the vocal forces involved are printed in the CD booklet.
This project was assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body (Individual International Arts Project Award 2015-17: UK-USA-Australia). Invaluable support was also provided by the Royal Philharmonic Society (UK), through its “ENCORE Choral” Award scheme.
OPEN-ACCESS ONLINE CD BOOKLET (including contextual essay, spatial configuration diagrams, lyrics, pictures and notes):
https://theclassicalstation.org/playlists/conversations-2/conversations-with-composers/#Jonathan%20David%20Little
YOUTUBE WORK LINKS (with SCORES):
1. WOEFULLY ARRAYED: https://www.youtube.com/watch?v=wEiWj_qNcfs
2. KYRIE: https://www.youtube.com/watch?v=VIpvPYo0NAw
3. GLORIA: https://www.youtube.com/watch?v=FI2PvLggGGI
4. WASTED & WORN: https://www.youtube.com/watch?v=ah9T3omlRmc
5. THAT TIME OF YEAR: https://www.youtube.com/watch?v=s4KxrWy9Wpw
6. CRUCIFIXUS [abridged reprise of "Woefully Arrayed"]: https://www.youtube.com/watch?v=oyz9EH8xV8M
CD / HIGH RES / STREAMING LINKS:
https://www.prestomusic.com/classical/products/8338016--woefully-arrayed
https://www.prostudiomasters.com/album/page/14390
https://www.amazon.com/Jonathan-Little-Woefully-Various-artists/dp/B071WT642H
ALL YOUTUBE VIDEOS (with SCORES) - SEE:
https://www.youtube.com/user/Musicalia65/videos
LINK to PODCAST INTERVIEW on WCPE-FM (US) about "POLYCHORAL MUSIC" (7 mins.):
https://theclassicalstation.org/listen/conversations-2/conversations-with-composers/#Jonathan%20David%20Little
KEYWORDS: "Jonathan David Little", polychoral, polychoralism, polychorality, choral music, contemporary choral music, cori spezzati, spatial placement in music, acoustics of performing spaces, Kyrie, Gloria, Woefully Arrayed, Crucifixus, That Time of Year, Wasted and Worn, double choir, triple choir, Vox Futura, Andrew Shenton, Heinrich Christensen, Stanbery Singers, Paul John Stanbery, Thomas Tallis Society Choir, Philip Simms, PARMA, Australia Council
SEE FURTHER: https://www.academia.edu/38490945/Polychorality_Some_Observations_Article_Diagrams_and_Contemporary_Choral_Work_Descriptions_in_Woefully_Arrayed_Sacred_and_Secular_Choral_and_Polychoral_Works_of_Jonathan_David_Little._North_Hampton_NH_USA_PARMA_Recordings_NV6113_2017_2-27
AND: https://www.academia.edu/38453411/The_Profundity_of_Polychoralism_Exploring_the_work_of_Jonathan_David_Little_Composer_Interview_and_CD_review_
AND:
https://www.academia.edu/38574837/_Composing_Polychoral_Music_Resonate_Magazine_22_Oct._2018_ONLINE_BLOG_ARTICLE_
AND:
https://www.academia.edu/38584062/Jonathan_David_Little_Woefully_Arrayed_La_Scena_Musicale_Feb._Mar._2018_32._REVIEW_of_AUDIO_CD_
'The composer also uses astute means of playing with the acoustic properties of the recording space. The placement of singers within that space is meticulously calculated to create certain sonorities. … In summary, Little’s musical style is arrestingly beautiful, and manages to strike a delicate balance between tradition and innovation.’
Arnaud G. Veydarier, 'Jonathan David Little, Woefully Arrayed … Sacred & Secular Choral & Polychoral Works' (CD review), in La Scena Musicale (Feb./Mar. 2018), p.32 (CANADA). English translation by Viviane Reid.
Authority to display and link by kind permission of La Scena Musicale.
MA SCENA ONLINE LINK:
https://myscena.org/arnaud-g-veydarier/cd-review-woefully-arrayed-sacred-secular-choral-polychoral-works/#prettyPhoto
DETAILS OF THE AUDIO CD:
Little, Jonathan D., WOEFULLY ARRAYED: SACRED AND SECULAR CHORAL AND POLYCHORAL WORKS OF JONATHAN DAVID LITTLE [Woefully Arrayed; Kyrie, Gloria; Wasted and Worn; That Time of Year; Woefully Arrayed (Reprise)] [CD]: Vox Futura, directed by Dr. Andrew Shenton (Boston) - with Heinrich Christensen, organ; Stanbery Singers, directed by Paul John Stanbery (Cincinnati); Thomas Tallis Society Choir, directed by Philip Simms (London) (Release date: 14th July 2017) Navona (a fine music label of PARMA Recordings), USA. Cat. No. NV6113. Recording supported by the Australian Government via the Australia Council, and by the Royal Philharmonic Society (UK).
* ROYAL PHILHARMONIC SOCIETY “ENCORE CHORAL” AWARD WINNER (UK);
* ROUNDGLASS “BEST CLASSICAL RECORDING” NOMINATION (USA-INDIA);
* “AUSTRALIA PRIZE" (for DISTINCTIVE WORK) FINALIST 2018.
OFFICIAL URL: http://navonarecords.com/catalog/nv6113/index.html
ABSTRACT
“A music redolent of the past and the future”
Several of the works in this collection feature intricate, a cappella, polychoral-inspired techniques. These include multi-part, multi-divisi, and unusual spatial effects (or cori spezzati – literally “split choirs” – as the technique was referred to in the Renaissance and early Baroque periods). Therefore different sections of the choir, or different “sub-choirs” and/or vocal soloists, are sometimes placed in various arrangements around and above the audience: this ancient technique being pioneered in modern form in “Kyrie”, Op.5, for 21 individual vocal lines – where some singers are stationed in a gallery, and at a distance. Some works also feature echo effects, as well as isorhythmic fragments, melodic and rhythmic hocket, while cross-rhythms and cross-textuality may additionally be involved.
Due to the incorporation of such “polychoral”-derived techniques (in addition to some derived from Medieval music), a striking extra dimension is added both to recordings and to live performances (where the aural “spatial” interest creates a quasi-theatrical effect). The harmonic language is largely built on the composer’s personalised modal foundations, frequently complemented by very subtle use of rhythm and ornament, which can sometimes involve quite elaborate – but always delicate – “filigree”-like patterns.
All but the Kyrie are world première recordings (including the first recording of the choral version of That Time of Year), and were recorded over five separate sessions in the UK and US.
Includes an additional historical and contextual essay by Renaissance and Baroque scholar, Hugh Keyte, leading expert on early polychoralism: "Polychorality: Some Observations".
PROJECT SUMMARY:
This was the first new, large-scale polychoral music research, creation and recording project of modern times, undertaken over two-years with Australia Council sponsorship. Works produced involve intricate, multi-part, multi-divisi and unusual spatial (“split choir”) effects – reimagining ancient techniques in contemporary contexts, all captured via cutting-edge recording technology, and promulgated worldwide.
Composer/academic Jonathan David Little was researcher/co-ordinator for this ambitious AUS$100,000 project, which embraced three continents, involved several large choirs, music directors and their staff, an organist, multiple engineers, producers and assistants (300+ participants). It employed the latest audio technology to produce remarkable results – capturing how different sub-choirs and/or vocal soloists were placed in various arrangements around and above the audience. This revived techniques largely forgotten since such works reached their acoustical zenith in the early Baroque. Ancient techniques were re-invented, derived from those once so brilliantly employed to create extra depth for choral performance in large spaces, so realising "surround-sound"-like effects. In order to aid performers/listeners, diagrams showing the disposition of all the vocal forces involved are printed in the CD booklet.
This project was assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body (Individual International Arts Project Award 2015-17: UK-USA-Australia). Invaluable support was also provided by the Royal Philharmonic Society (UK), through its “ENCORE Choral” Award scheme.
OPEN-ACCESS ONLINE CD BOOKLET (including contextual essay, spatial configuration diagrams, lyrics, pictures and notes):
https://www.navonarecords.com/legacy-catalog/nv6113/booklet---woefully-arrayed---jonathan-little.html
YOUTUBE WORK LINKS (with SCORES):
1. WOEFULLY ARRAYED: https://www.youtube.com/watch?v=wEiWj_qNcfs
2. KYRIE: https://www.youtube.com/watch?v=VIpvPYo0NAw
3. GLORIA: https://www.youtube.com/watch?v=FI2PvLggGGI
4. WASTED & WORN: https://www.youtube.com/watch?v=ah9T3omlRmc
5. THAT TIME OF YEAR: https://www.youtube.com/watch?v=s4KxrWy9Wpw
6. CRUCIFIXUS [abridged reprise of "Woefully Arrayed"]: https://www.youtube.com/watch?v=oyz9EH8xV8M
CD / HIGH RES / STREAMING LINKS:
https://www.prestomusic.com/classical/products/8338016--woefully-arrayed
https://www.prostudiomasters.com/album/page/14390
https://www.amazon.com/Jonathan-Little-Woefully-Various-artists/dp/B071WT642H
ALL YOUTUBE VIDEOS (with SCORES) - SEE:
https://www.youtube.com/user/Musicalia65/videos
LINK to PODCAST INTERVIEW on WCPE-FM (US) about "POLYCHORAL MUSIC" (7 mins.):
https://theclassicalstation.org/listen/conversations-2/conversations-with-composers/#Jonathan%20David%20Little
KEYWORDS: "Jonathan David Little", polychoral, polychoralism, polychorality, choral music, contemporary choral music, cori spezzati, spatial placement in music, acoustics of performing spaces, Kyrie, Gloria, Woefully Arrayed, Crucifixus, That Time of Year, Wasted and Worn, double choir, triple choir, Vox Futura, Andrew Shenton, Heinrich Christensen, Stanbery Singers, Paul John Stanbery, Thomas Tallis Society Choir, Philip Simms, PARMA, Australia Council
SEE FURTHER: https://www.academia.edu/38490945/Polychorality_Some_Observations_Article_Diagrams_and_Contemporary_Choral_Work_Descriptions_in_Woefully_Arrayed_Sacred_and_Secular_Choral_and_Polychoral_Works_of_Jonathan_David_Little._North_Hampton_NH_USA_PARMA_Recordings_NV6113_2017_2-27
AND: https://www.academia.edu/38453411/The_Profundity_of_Polychoralism_Exploring_the_work_of_Jonathan_David_Little_Composer_Interview_and_CD_review_
AND:
https://www.academia.edu/38574837/_Composing_Polychoral_Music_Resonate_Magazine_22_Oct._2018_ONLINE_BLOG_ARTICLE_
AND:
https://www.academia.edu/38583848/LITTLE_Woefully_Arrayed_Gramophone_vol.95_Jan._2018_iii._REVIEW_of_AUDIO_CD_
– Alejandro Clavijo, in Reviews New Age (February, 2012) (Spain)
* "Album des Mes en RNA (Febrero 2012)" (Album of the Month in Reviews New Age, February 2012); Nomination for 'Mejor Álbum RNA de Año' (Best Album of the Year) (Spain)
- Patric Standford
"Very beautiful and restful—sit back and relax.
I have always enjoyed good, quiet choral music of nearly any sort. I admit I am partial to those big works—bombastic or placid—that employ a full choir with orchestra, but sometimes a capella writing and that “church” sound is just what I need. This album is a delight on all fronts.
While I had never heard of Australian composer Jonathan David Little before, I was definitely impressed with his work on these pieces. Little has received many awards and recognitions for his music, including the Professional Development Award from the Musician’s Benevolent Fund in the UK. He studied at the University of Melbourne and taught at the Academy of Contemporary Music in London for a while as a Fellow of the Royal Society of the Arts.
Probably the most unusual aspect of Little’s choral work; certainly of the pieces on this album, is his use of creative and sonically innovative voice placement. The recording and aural display of these works is good. The booklet notes give us a very good explanation and understanding of “polychoral” vocal writing; essentially just what is sounds like. Little achieves unique and beautiful effects through spacing and arrangement of vocal groups. It seems that Little’s techniques are well grounded in both very careful construction of harmonies and voicing as well as in acoustics and the physics of sound.
In fact, two of the most fantastically beautiful works in this collection—Gloria, op.18 and Wasted and Worn, op. 6, also have atypical and unique placement of the singers. (The diagrams in the booklet indicate a genuine precision to Little’s decision making.)
Of the six selections herein, I would be hard pressed to pick a favorite—I greatly enjoyed each of them. Little uses traditional selections from the Latin mass for his sacred texts; for his secular texts he uses poetry and essays from English poets John B.L. Warren and Shakespeare. This album would have direct appeal to anyone with a background in choral music or who likes to listen to a genuinely involving piece of a capella choral music. When I hear music of this sort it reminds in the best possible ways of when I have actually had the pleasure of hearing music by Tallis or Dunstable in a large old marble clad cathedral – all too infrequently truth be told.
The three groups performing here—Vox Futura, the Thomas Tallis Society, and The Stanbery Singers—are all amazing; some of the best groups you will ever hear. Very enjoyable, highly recommend!
—Daniel Coombs"
UNDINE PERFORMANCE:
1pm on Saturday 16 September
Assembly Rooms, 82 North Street, Chichester PO19 1LQ.
ABSTRACT
‘Of all fairy tales I know, I think Undine the most beautiful’ - George MacDonald
This one-off musical performance of Friedrich de la Motte Fouqué’s Undine follows the story of the romance between a water-sprite Undine and the Knight Huldbrand. The tale had a profound influence on the 19th century, inspiring operas, ballets and adaptations, including Hans Christian Andersen’s The Little Mermaid and Dvořák’s Rusalka, as well the imagination of Arthur Rackham.
This performance will retell the narrative of Undine, interspersed with some of the most iconic musical versions of the story, all set against Arthur Rackham’s definitive illustrations. This multimedia concert is led and co-ordinated by Victoria Leslie with composer Jonathan Little, and collates various musical treatments of the Undine story interspersed with Rackham's illustrations of Undine and with spoken word.
A University research symposium and musical performance hosted in Chichester on Saturday 16 September will continue the celebrations with a focus on Rackham’s legacy. The day-long event, which starts at 9:30am, will feature fairy tale and folklore scholars examining Rackham’s work and legacy.
The concert performance, with composer Jonathan Little from the University’s Department of Music, retells the narrative of Frederic de la Motte Fouque’s Undine which was illustrated by Rackham.
Researched, compiled and produced by Victoria Leslie and Jonathan David Little.
BIOGRAPHIES
Victoria Leslie’s PhD research explores how early water women narratives, including Friedrich de la Motte Fouque's Undine (later made popular by Arthur Rackham's illustrations) were used by writers at the fin de siècle to discuss women's sexual and political freedom. Her thesis is cross-disciplinary, collaborating with other academics and creative practitioners who are similarly interested in the cross-fertilisation of literature, art and music. Her previous writing has been short-listed for a number of awards, included the Shirley Jackson Award and the World Fantasy Award, and she was awarded fellowships at Hawthornden and the Saari Institute in Finland to research Nordic water myths. Victoria's fiction has accrued many awards and nominations and her debut novel, Bodies of Water is available from Salt Publishing.
Jonathan David Little is Professor of Musical Composition / Music History at the University of Chichester. His atmospheric and evocative music is notable for its mystical beauty, intensity and richness of material. Little was the first Australian-born composer to be awarded the John Clementi Collard Fellowship (2011), one of the most prestigious awards of the City of London’s ancient Worshipful Company of Musicians. His two-volume study of musical and literary orientalism won a Royal Literary Fund Award and he is currently working on further volumes in the series and a major text on musical composition. In 2017 he received “Special Distinction” in the ASCAP Rudolf Nissim Prize (USA) – one of the concert music world’s most esteemed awards.
A seven-part radio series broadcast on Sundays at 10:30pm fortnightly from 1st April, 1990. Researched, written, presented and produced by Jonathan David Little for 3MBS-FM Fine Music Melbourne.
CULTURAL YEARS - Series / Programme Description:
“Cultural Years” was a seven-part radio series which discussed “Music, the Arts and Society around the time of Seven of the Great 19th- and 20th-century International Exhibitions” (see below).
In examining the ideas which lay behind all of the arts in a given era – in fashion, architecture and landscaping, interior decoration, fine and decorative art, literature, philosophy, social theory and music – I was able to discover the similar aesthetic principles determining the production of works of art, and especially music, as part of the complete picture of Western cultural history during the period, following Professor Warren Allen’s statement that ‘One disappointing, although tacit assumption is that the history of music can be divorced from contemporary events’, and the comment of social music historian, Henry Raynor: ‘With all a reflection’s power of candid criticism, music and art mirrors the real face of the society to which it belongs’. Thus I have attempted to promote the appreciation of all the arts of the recent past by illustrating the connection between them, in order to redress the imbalance caused by modern specialization.
* Part 1: Music, the Arts and Society at the time of the Great Exhibition of 1851
* Part 2: Music, the Arts and Society at the time of the Weltausstellung Wien of 1873 [SCRIPT TWO ATTACHED]
* Part 3: Music, the Arts and Society at the time of the Paris Exposition Universelle of 1889
* Part 4: Music, the Arts and Society at the time of the Paris Exposition Universelle of 1900
* Part 5: Music, the Arts and Society to the eve of the First World War (Exposition Universelle et Industrielle, Ghent - 1913)
* Part 6: Music, the Arts and Society at the time of the Expositión Internacional de Barcelona in 1929
* Part 7: Music, the Arts and Society at the time of the Exposition Internationale des Arts et Techniques dans la Vie Moderne in Paris of 1837
Little, Jonathan D., “Cultural Years: Music, the Arts and Society at the time of the Great International Exhibitions, 1851-1937”, being a series of seven x (average) 90 min. radio programmes [totalling 120,000 words], written and presented for 3MBS-FM Fine Music Radio (Melbourne), and broadcast fortnightly from 1st April, 1990 – with an introductory article in Libretto (April, 1990), p.7: "Cultural Years: An Artistic Treasure Hunt".
SEE: http://eprints.chi.ac.uk/2395/
AND: https://3mbs.org.au/
AND SEE ALSO: https://www.academia.edu/38476532/Cultural_Years_An_Artistic_Treasure_Hunt_Libretto_April_1990_7._RADIO_SERIES_Introduction_and_Description_
[GENERAL INTRODUCTORY ARTICLE & SCRIPT TWO ATTACHED: OTHERS TO COME IN DUE COURSE]
KEYWORDS: Great Exhibition, Exposition Universelle, Weltausstellung Wien, Expositión Internacional, Exposition Universelle et Industrielle, Exposition Internationale des Arts et Techniques dans la Vie Moderne, 1851, 1873, 1889, 1900, 1913, 1929, 1937, "Jonathan David Little"
* DIRECT LINK to PODCAST:
https://theclassicalstation.org/playlists/conversations-2/conversations-with-composers/#Jonathan%20David%20Little
AND/OR SEE: "CONVERSATIONS with COMPOSERS" Series.
[PLAY RELEVANT LINK]
With thanks to interviewer Rob Kennedy and WCPE 89.7 FM "The Classical Station" (North Carolina, USA): https://theclassicalstation.org/
(Interview first broadcast 7pm Eastern Standard Time [US], 17th November 2019.)
"This fall our guests [on Preview!] will include composer Jonathan David Little, conductor Sir Stephen Cleobury, and counter-tenor Anthony Roth Constanzo."
FOLLOW-UP LINKS to POLYCHORAL ALBUM / REVIEW / SAMPLES:
Jonathan David Little: "Woefully Arrayed" [CD album] (Navona NV6113)
* ALBUM: https://www.navonarecords.com/catalog/nv6113/
* REVIEW: https://www.gramophone.co.uk/review/little-woefully-arrayed
* SAMPLES: https://www.prostudiomasters.com/album/page/14390
OTHER RELEVANT LINKS on ACADEMIA
* PROJECT OVERVIEW: https://www.academia.edu/38505604/WOEFULLY_ARRAYED_Sacred_and_Secular_Choral_and_Polychoral_Works_of_Jonathan_David_Little._North_Hampton_NH_USA_PARMA_Recordings_NV6113_2017_._AUDIO_CD_
* FANFARE INTERVIEW (USA): https://www.academia.edu/38453411/The_Profundity_of_Polychoralism_Exploring_the_work_of_Jonathan_David_Little_Fanfare_41_2_2017_121-131._Composer_Interview_and_CD_review_
* AUSTRALIAN MUSIC CENTRE BLOG ARTICLE: https://www.academia.edu/38574837/_Composing_Polychoral_Music_Resonate_Magazine_22_Oct._2018_ONLINE_BLOG_ARTICLE_
* HUGH KEYTE on POLYCHORALITY: https://www.academia.edu/38490945/Polychorality_Some_Observations_Article_Diagrams_and_Contemporary_Choral_Work_Descriptions_in_Woefully_Arrayed_Sacred_and_Secular_Choral_and_Polychoral_Works_of_Jonathan_David_Little._North_Hampton_NH_USA_PARMA_Recordings_NV6113_2017_2-27
* "LA SCENA MUSICALE"' REVIEW (CANADA): https://www.academia.edu/38584062/Jonathan_David_Little_Woefully_Arrayed_La_Scena_Musicale_Feb._Mar._2018_32._REVIEW_of_AUDIO_CD_
* "GRAMOPHONE" REVIEW (NORTH AMERICA): https://www.academia.edu/38583848/LITTLE_Woefully_Arrayed_Gramophone_Vol.95_Jan._2018_iii._REVIEW_of_AUDIO_CD_
KEYWORDS: "Jonathan David Little", polychoral, polychoralism, polychorality, choral music, contemporary choral music, cori spezzati, spatial placement in music, acoustics of performing spaces, Kyrie, Gloria, Woefully Arrayed, Crucifixus, That Time of Year, Wasted and Worn, double choir, triple choir, Vox Futura, Andrew Shenton, Heinrich Christensen, Stanbery Singers, Paul John Stanbery, Thomas Tallis Society Choir, Philip Simms, PARMA, Australia Council
With a Foreword by John Kennedy, OBE, former President of Universal Music International, and Chairman of the International Federation of the Phonographic Industry.
Includes several specially commissioned articles by the Consultant Editor, in addition to introductory and linking matter – e.g.:
Little, Jonathan, “DJs”, 129-30; “Financing New Music Business Ventures: An Aide-Memoire”, 322-5; “History of Copyright: A Chronology in Relation to Music”, 339-345; “Labels and Distribution”, 259-60; “Marketing, Management and Finance”, 285-6; “New Artistic Projects: Some Methods of Proceeding”; “Performing”, 63-4; “Songwriting and Composing”, 1; “Recording and Production”, 173-4.
This essential 'black book' to the music industry lists contact names and vital practical advice for producing, selling and performing your music. This expanded edition includes new articles on: How to Approach a Performance, How Vocal Performers Communicate, Recording Acoustic Instruments, The Basics of DJ Technique, The Role of the Musical Director, The A&R Department and Setting up a Studio. Includes information on the Flow of Royalties, New Business Models for Deriving Income, Music industry acronyms and terminology.
Among the many expert contributors: Pete Kirtley, Ivor Novello winning songwriter and producer (Spice Girls, Misteeq, Gareth Gates), Steve Levine, Grammy Award winning producer (Culture Club, The Beach Boys), Colin Emmanual, Producer (Jamelia), Jim Jomoa, professional DJ, Ben Challis, music lawyer (Glastonbury), Keith Lowde, Former Deputy Chairman, Music Copyright Protection Society, Sharon Woolf, songwriter and vocalist (Fatboy Slim, Liberty X), Bill Bruford, drummer extraordinaire, JoJo Gould, Editor of Music Business Journal, Jen Moss, Music Consultant (Boosey & Hawkes), Adrian Winman, Record and Games Producer.
"If knowledge is power, the Musicians' and Songwriters' Yearbook is one of the most potent resources available to anyone in the music business." - "The Works", Magazine of the British Academy of Composers and Songwriters.
Second edition; completely revised and updated each year. (From the publisher of "Writers' and Artists' Yearbook".)
See: http://www.amazon.co.uk/Musicians-Songwriters-Yearbook-2008-Essential/dp/0713684720 [ISBN 0-7136-8472-0].
KEYWORDS: Music Performing, Music Education, Music Industry, Music Composition and Songwriting, British Music Industry, Music Entrepreneurship, "Jonathan David Little"
SEE ALSO: https://www.academia.edu/38499406/New_Artistic_Projects_Some_Methods_of_Proceeding_in_J._Little_and_K._Chatburn_eds._Musicians_and_Songwriters_Yearbook_2008_2nd_edn._._London_A_and_C_Black_2007_pp.121-122
AND: https://www.academia.edu/38499308/Financing_New_Music-Business_Ventures_in_J._Little_and_K._Chatburn_eds._Musicians_and_Songwriters_Yearbook_2008_2nd_edn._._London_A_and_C_Black_2007_pp.322-325
Excerpts reproduced by kind permission of the original Commissioning Editor at A & C Black (Bloomsbury Publishing PLC), and reconfirmed by the Permissions Manager at Bloomsbury Publishing in 2019.
With a Foreword by Peter Reichardt, former Chairman and CEO of EMI Music Publishing. Includes articles commissioned from leading UK music personalities.
The essential `black book' to the music industry, this authoritative reference lists contact names and vital information to enable you to produce, sell and perform your music.
In addition, articles by experts on topics such as; 'Setting Up Your Desktop Studio', 'Music Marketing and Promotion', 'Making a Living as a DJ', 'Digital Downloads' and 'Production Deals and Terms' make the yearbook an essential resource in a fastmoving and complex industry. A book to suit all types of musicians, whether from a rock and pop, jazz or classical background. (From the publisher of "Writers' and Artists' Yearbook".)
Among the many expert contributors: Pete Kirtley, Ivor Novello winning songwriter and producer (Spice Girls, Misteeq, Gareth Gates), Steve Levine, Grammy Award winning producer (Culture Club, The Beach Boys), Colin Emmanual, Producer (Jamelia), Jim Jomoa, professional DJ, Ben Challis, music lawyer (Glastonbury), Keith Lowde, Former Deputy Chairman, Music Copyright Protection Society, Doug Flett, songwriter (Ray Charles, Joe Cocker, Tom Jones), Sharon Woolf, songwriter and vocalist (Fatboy Slim, Liberty X), Bill Bruford, drummer extraordinaire, JoJo Gould, Editor of Music Business Journal.
“'Invaluable to the budding songwriter and musician, by giving them those crucial first contacts.' ” – Peter Reichardt, Former Chairman and CEO of EMI
“'If knowledge is power, the Musicians' and Songwriters' Yearbook is one of the most potent resources currently available to anyone operating in any corner of the music business... It more than justifies its place on the shelf of anyone making or seeking to make their living in the music industry... You'll find this is £14.99 very well spent.'” – The Works, Magazine of British Academy of Songwriters and Composers
“'All types of musicians from rock and pop through to classical should find the book useful.'” – Singing (Summer 2007)
KEYWORDS: Music Performing, Music Education, Music Industry, Music Composition and Songwriting, British Music Industry, Music Entrepreneurship, "Jonathan David Little"
SEE ALSO: https://www.academia.edu/38499406/New_Artistic_Projects_Some_Methods_of_Proceeding_in_J._Little_and_K._Chatburn_eds._Musicians_and_Songwriters_Yearbook_2008_2nd_edn._._London_A_and_C_Black_2007_pp.121-122
AND: https://www.academia.edu/38499308/Financing_New_Music-Business_Ventures_in_J._Little_and_K._Chatburn_eds._Musicians_and_Songwriters_Yearbook_2008_2nd_edn._._London_A_and_C_Black_2007_pp.322-325
Excerpts reproduced by kind permission of the original Commissioning Editor at A & C Black (Bloomsbury Publishing PLC), and reconfirmed by the Permissions Manager at Bloomsbury Publishing in 2019.
These books first laid out and codified the entire one-year DIPLOMA and HIGHER DIPLOMA courses as taught at the Academy of Contemporary Music [ACM], and were produced in three parts annually (one for each of the three Trimesters), as constructed for the following disciplines:
1. VOCALS; 2. GUITAR; 3. BASS; 4. DRUMS; 5. MUSIC PRODUCTION; 6. DJ.
(The corresponding two-year accelerated degree course had its own Handbooks for each particular discipline - including Music Business - which outlined each term's lecture series.)
VISION STATEMENT of the ACADEMY of CONTEMPORARY MUSIC [2003-2005]
"Together, we will build a specialist vocational training centre for the rock and pop music industry. We will work closely with the educational establishment to ensure that our unique training provision is offered to potential artists based upon their talent rather than financial status. When we are finished we will have developed a core business respected by both the music industry and education establishment for both its commercial and vocational achievements. Artists wishing to pursue a career in popular music at all levels will have an accredited study path leading to work."
- Phil Brookes, Founder and Managing Director.
ACM became the UK & European market leader in contemporary music education at this time, and was recognised with the “QUEEN’S AWARD FOR ENTERPRISE (INNOVATION CATEGORY)” in 2008 – the first such recipient music education institution – for both its innovative curriculum, and its integral music industry links.
ACM OVERVIEW: https://www.youtube.com/watch?v=CuSJqCvbTvI
N.B.: The skills initially of Kate Jefferson, and subsequently the expertise of the publishing and design team of Claire and Ian Welch (Peran Publishing) is kindly acknowledged in producing all these volumes annually for over a decade.
Little, Jonathan D. (2005), 'The Complete Songwriter: An Antidote to Industry Short-Termism' [or, 'The Complete Songwriter/Producer']. Invited contribution in: Heart and Soul: Revealing the Craft of Songwriting. London: Sanctuary, pp. 338-347. ISBN 1-8607-4641-1
ABOUT THIS BOOK:
'Published in celebration of the 50th anniversary of the Ivor Novello Awards, being an Official Guide to Songwriting, commissioned by the British Academy of Composers and Songwriters. With invited contributions from leading songwriters worldwide.
Offering unique access to the words and wisdom of some of the most successful songwriters of the last 50 years, "Heart & Soul - Revealing the Craft of Songwriting" is both a collection of songwriting secrets and an intriguing look into the minds of professional songwriters.
Containing everything an aspiring songwriter needs to know, from how to find inspiration to writing effective lyrics and melodies, and including essential information on the music industry, advice on publishing contracts, as well as the history and future of songwriting. Over 200 No.1 songs have been written between the book’s contributors, making Heart & Soul the most authoritative guide to the craft of songwriting.
With a foreword by Guy Chambers (Robbie Williams’ co-writing partner), the book features exclusive interviews with top songwriters including Don Black, Wayne Hector, Rob Davis and The Darkness and also includes the first published UK joint interview with Holland, Dozier & Holland.
The only songwriting book to be compiled and endorsed by The British Academy of Composers & Songwriters, "Heart & Soul" is being published as part of the 50th Anniversary of the prestigious Ivor Novello Awards. All royalties are donated to The Academy Music Foundation charity.'
KEYWORDS: Songwriting, "Jonathan David Little"
[Excerpt by kind permission of Sanctuary Publishing / Music Sales.]
CULTURAL YEARS - Series / Programme Description:
“Cultural Years” was a seven-part radio series which discussed “Music, the Arts and Society around the time of Seven of the Great 19th- and 20th-century International Exhibitions” (see below).
In examining the ideas which lay behind all of the arts in a given era – in fashion, architecture and landscaping, interior decoration, fine and decorative art, literature, philosophy, social theory and music – I was able to discover the similar aesthetic principles determining the production of works of art, and especially music, as part of the complete picture of Western cultural history during the period, following Professor Warren Allen’s statement that ‘One disappointing, although tacit assumption is that the history of music can be divorced from contemporary events’, and the comment of social music historian, Henry Raynor: ‘With all a reflection’s power of candid criticism, music and art mirrors the real face of the society to which it belongs’. Thus I have attempted to promote the appreciation of all the arts of the recent past by illustrating the connection between them, in order to redress the imbalance caused by modern specialization.
* Part 1: Music, the Arts and Society at the time of the Great Exhibition of 1851
* Part 2: Music, the Arts and Society at the time of the Weltausstellung Wien of 1873
* Part 3: Music, the Arts and Society at the time of the Paris Exposition Universelle of 1889
* Part 4: Music, the Arts and Society at the time of the Paris Exposition Universelle of 1900
* Part 5: Music, the Arts and Society to the eve of the First World War (Exposition Universelle et Industrielle, Ghent - 1913)
* Part 6: Music, the Arts and Society at the time of the Expositión Internacional de Barcelona in 1929
* Part 7: Music, the Arts and Society at the time of the Exposition Internationale des Arts et Techniques dans la Vie Moderne in Paris of 1837
SEE: http://eprints.chi.ac.uk/2395/
AND: https://3mbs.org.au/
AND SEE ALSO: https://www.academia.edu/38476343/Cultural_Years_Music_the_Arts_and_Society_around_the_time_of_Seven_of_the_Great_19th-_and_20th-Century_International_Exhibitions_1851-1937._Melbourne_3MBS-FM_Fine_Music_1990_._RADIO_SERIES_
KEYWORDS: Great Exhibition, Exposition Universelle, Weltausstellung Wien, Expositión Internacional, Exposition Universelle et Industrielle, Exposition Internationale des Arts et Techniques dans la Vie Moderne, 1851, 1873, 1889, 1900, 1913, 1929, 1937, "Jonathan David Little"
PROJECT TITLE:
International Polychoral Music Research, Creation and Recording Project* (part-sponsored by an Australia Council Individual International Arts Project Award 2015-17).
*Finalist, "2018 Australia Prize for Distinctive Work". (Sponsored by Routledge, the "Distinctive Work" Prize is for an exceptional artistic performance, exhibition, film, television show, play, composition or practical contribution to arts policy. Awarded by the Council for the Humanities, Arts & Social Sciences [CHASS Australia].)
SEE: http://www.chass.org.au/wp-content/uploads/2018/09/Media-release_2018-CHASS-Australia-Prizes-Shortlists-Announced.pdf
This two-year polychoral music project (2015-17), saw its subsequent CD release, "Woefully Arrayed" (on Navona NV6113, USA), receive the highest international plaudits. Featuring three leading choirs from the US and USA - "Woefully Arrayed" was nominated in America for "Best Classical Music Recording" at the inaugural RoundGlass Global Music Awards 2018 (26th January, Edison Ballroom, New York), while its "Kyrie" was British winner of a BBC Radio 3 / Royal Philharmonic Society "Encore Choral" Award.
PROJECT SUMMARY:
This was the first new, large-scale polychoral music research, creation and recording project of modern times, undertaken over two-years with Australia Council sponsorship. Works produced involve intricate, multi-part, multi-divisi and unusual spatial (“split choir”) effects – re-imagining ancient techniques in contemporary contexts, all captured via cutting-edge recording technology, and promulgated worldwide.
Composer/academic Jonathan David Little was researcher/co-ordinator for this ambitious AUS$100,000 project, which embraced three continents, involved several large choirs, music directors and their staff, an organist, multiple engineers, producers and assistants (300+ participants). It employed the latest audio technology to produce remarkable results – capturing how different "sub-choirs" and/or vocal soloists were placed in various arrangements around and above the audience (occasionally also involving movement). This revived techniques largely forgotten since such works reached their acoustical zenith in the early Baroque. Ancient techniques were re-invented, derived from those once so brilliantly employed to create extra depth for choral performance in large spaces, so realising "surround-sound"-like effects. In order to aid performers/listeners, diagrams showing the disposition of all the vocal forces involved are printed in the CD booklet (Navona NV6113, 2017).
One aim was to generate interest in largely long-forgotten, but still hugely useful and aurally impressive composition methods. Following a period of research and experimentation, several new, accessible choral works were created – most featuring intricate, a cappella, polychoral-inspired techniques. Due to the incorporation of such techniques, a striking extra dimension is added both to recordings and live performances – where the aural “spatial” interest creates a quasi-theatrical effect.
OPEN-ACCESS ONLINE CD BOOKLET (including contextual essay, spatial configuration diagrams, lyrics, pictures and notes): https://www.navonarecords.com/legacy-catalog/nv6113/booklet---woefully-arrayed---jonathan-little.html
YOUTUBE WORK LINKS (with SCORES):
1. WOEFULLY ARRAYED: https://www.youtube.com/watch?v=wEiWj_qNcfs
2. KYRIE: https://www.youtube.com/watch?v=VIpvPYo0NAw
3. GLORIA: https://www.youtube.com/watch?v=FI2PvLggGGI
4. WASTED & WORN: https://www.youtube.com/watch?v=ah9T3omlRmc
5. THAT TIME OF YEAR: https://www.youtube.com/watch?v=s4KxrWy9Wpw
6. CRUCIFIXUS [abridged reprise of "Woefully Arrayed"]: https://www.youtube.com/watch?v=oyz9EH8xV8M
CD / HIGH RES / STREAMING LINKS:
https://www.prestomusic.com/classical/products/8338016--woefully-arrayed
https://www.prostudiomasters.com/album/page/14390
https://www.amazon.com/Jonathan-Little-Woefully-Various-artists/dp/B071WT642H
ALL YOUTUBE VIDEOS (with SCORES) - SEE:
https://www.youtube.com/user/Musicalia65/videos
“The lost potential of the acoustics of performing spaces begins to be rediscovered in these works.”
LINK to PODCAST INTERVIEW on WCPE-FM (US) about "POLYCHORAL MUSIC" (7 mins.):
https://theclassicalstation.org/podcasts/jonathan_david_little_woefully_arrayed.mp3
SEE FURTHER: https://www.academia.edu/38505604/Woefully_Arrayed_Sacred_and_Secular_Choral_and_Polychoral_Works_of_Jonathan_David_Little._North_Hampton_NH_USA_PARMA_Recordings_NV6113_2017_._AUDIO_CD_
AND: https://www.academia.edu/38453411/The_Profundity_of_Polychoralism_Exploring_the_work_of_Jonathan_David_Little_Fanfare_41_2_2017_121-131._Composer_Interview_and_CD_review_
AND:
https://www.academia.edu/38574837/_Composing_Polychoral_Music_Resonate_Magazine_22_Oct._2018_ONLINE_BLOG_ARTICLE_
KEYWORDS: "Jonathan David Little", polychoral, polychoralism, polychorality, choral music, contemporary choral music, cori spezzati, spatial placement in music, acoustics of performing spaces, Kyrie, Gloria, Woefully Arrayed, Crucifixus, That Time of Year, Wasted and Worn, double choir, triple choir, Vox Futura, Andrew Shenton, Heinrich Christensen, Stanbery Singers, Paul John Stanbery, Thomas Tallis Society Choir, Philip Simms, PARMA, Australia Council
Besides the published version, also attached is the original and full, unabridged, 14-page draft text (4000 vs. 2500 words).
KEYWORDS: Oriental, Gothic, Orientalism, Literary Orientalism, "Jonathan David Little"
It was almost entirely due to the taste for the "exotic" that the art of the nineteenth century came to display a focus on colour and technique unknown before. If colour and attention to detail do indeed "abound in all aspects of Oriental life", then these are precisely the qualities that one must look for in art which is inspired by the Orient (Freeman et al. 1990: 25) ... [and it] was as a direct consequence of the nineteenth-century penchant for exotic and "Oriental" art that "programmatic" or descriptive forms of expression rose to new heights. ... Indeed, musical Orientalism can be said to have played a major role in revitalizing a variety of musical parameters - formal, harmonic and metrical - but especially instrumental "colour" ...
As published in FoMRHI Quarterly [Journal of the Fellowship of Makers and Researchers of Historic Instruments]. Publisher: Jeremy Montagu, Oxford.
Little, Jonathan D. (2001), Oriental Colour and Atmosphere: Why Exotic Colour became Prominent in 19th- and early 20th-Century Orchestration. FoMRHI Quarterly [Journal of the Fellowship of Makers and Researchers of Historic Instruments] (102), pp. 23-28 (comm.1745).
KEYWORDS: exoticism, musical orientalism, Romantic, programmatic, programme music, local colour, Charles-Marie Widor, La Technique de I'orchestre moderne, Principles of Orchestration, Rimsky-Korsakov, Charles Blanc, Delacroix, "Jonathan David Little"
SEE ALSO: https://www.academia.edu/38444533/Musical_Instruments_Evocative_of_the_Ancient_Orient_FoMRHI_Quarterly_99_April_2000_21-30_comm.1707_
AND: https://www.academia.edu/38444573/On_Western_Travellers_who_described_and_drew_inspiration_from_Eastern_instruments_and_music_ca._1830s-1850s_FoMRHI_Quarterly_98_Jan._2000_41-45_comm.1690_
AND:
https://www.academia.edu/38460836/Nostalgia_Exoticism_and_Brilliant_Colour_Arts_Rondo_Winter_1992_25-30
Nineteenth-century literature, especially French “exotic” literature, contains many helpful references to the sorts of instruments and sounds that composers of the period were trying to reintroduce or re-create in their own works in the “Ancient Oriental” genre. Gustave Flaubert’s Salammbô and Hector Berlioz’s epic opera Les Troyens, works that are exactly contemporaneous, provide one example of this aesthetic parallel. Later in the century, a similarity may also be demonstrated between the instruments mentioned in Pierre Louÿs’ Aphrodite and the delicate sound world which Claude Debussy strove to evoke in his compositions, including the Prélude à “l’après-midi d’un faune” and Les Chansons de Bilitis, the latter consisting of musical interludes inserted into a sequence of prose poems by Louÿs.
As published in FoMRHI Quarterly [Journal of the Fellowship of Makers and Researchers of Historic Instruments]. Publisher: Jeremy Montagu, Oxford.
Little, Jonathan D. (2000), Musical Instruments Evocative of the Ancient Orient. FoMRHI Quarterly [Journal of the Fellowship of Makers and Researchers of Historic Instruments] (99), pp. 21-30 (comm.1707).
KEYWORDS: lyres, flutes, double flute, tambourines, castanets, cymbals, antique cymbals, crotals, crotali, crotales, clapper, Carthage, Gustave Flaubert, Salammbô, Hector Berlioz, Les Troyens, Pierre Louÿs, Aphrodite, Claude Debussy, Prélude à “l’après-midi d’un faune”, Les Chansons de Bilitis, Edgar Allan Poe, La Chute de la maison d’Usher, Théophile Gautier, Une nuit de Cléopâtre, Cleopatra, Saint-Saëns, castagnettes de fer, priestesses of Dagon, Samson and Delilah, Samson et Dalila, Gounod, Sapho, L’Enfance du Christ, Herodias, Richard Strauss, Josephslegende, Salome, Roméo et Juliette, castagnettes de bois - et de fer, tavolette, Respighi’s, Feste Romane, Pompeii, Herculaneum, tintinnabula, Isis, sistrum, sistra, tympanum, sambuke, dulcimer, trigon, Le Roman de la momie, Walter Pater, Marius the Epicurean, Æolian harp, Aeolian harp, Georges Kastner, Pierre Loti, Madame Chrysanthème, Verdi, Aïda, Grand traité de l’instrumentation et d’orchestration modernes, darabuka, tarabuka, dumbek, dumbelik, Bizet, L’Arlésienne, Lakmé, Ibert, darboukka, Suite symphonique, Felicien David, Le Désert, Jerusalem, Meyerbeer’s, Le Prophète, Halévy, Le Juif errant, Auber, Le Dieu et la Bayadère, E. W. Lane, Alméh, Almah, Hafiz, "Jonathan David Little"
SEE ALSO: SEE ALSO: https://www.academia.edu/38444573/On_Western_Travellers_who_described_and_drew_inspiration_from_Eastern_instruments_and_music_ca._1830s-1850s_FoMRHI_Quarterly_98_Jan._2000_41-45_comm.1690_
AND:
https://www.academia.edu/38444420/Oriental_Colour_and_Atmosphere_Why_Exotic_Colour_became_Prominent_in_19th-and_early_20th-Century_Orchestration_FoMRHI_Quarterly_102_Jan._2001_23-28_comm.1745_
As published in FoMRHI Quarterly [Journal of the Fellowship of Makers and Researchers of Historic Instruments]. Publisher: Jeremy Montagu, Oxford.
Little, Jonathan D. (2000), On Western Travellers who described and drew inspiration from "Eastern" instruments and music, ca.1830s-1850s. FoMRHI Quarterly [Journal of the Fellowship of Makers and Researchers of Historic Instruments] (98), pp. 41-45 (comm.1690).
SEE ALSO:
https://www.academia.edu/38444533/Musical_Instruments_Evocative_of_the_Ancient_Orient_FoMRHI_Quarterly_99_April_2000_21-30_comm.1707_
AND:
https://www.academia.edu/38444420/Oriental_Colour_and_Atmosphere_Why_Exotic_Colour_became_Prominent_in_19th-and_early_20th-Century_Orchestration_FoMRHI_Quarterly_102_Jan._2001_23-28_comm.1745_
KEYWORDS: musical orientalism, ethnomusicology, Edward William Lane, E. W. Lane, kemengeh, kanoon, ood, nay, rikk, zemr, tabl beleedee, tabl Shamee, nakakeer, nakkarah, Darweeshes, baz, kas, sagat, brass castanets, darabukkeh, tambourine, zikrs, Berlioz, Les Troyens, Alphonse Daudet, Alateeyeh, Almeh, Awalim, Alimeh, Eugene Fromentin, Un ete dans le Sahara, almee, Ghawazee, rabab, zummarah, Felicien David, Saint-Simonian, Melodies orientales, tambour, bendair, derbouka, bendeyr, tobilets, dnoutsch, finger cymbals, djouwak, gsbah, Auguste Colin, Dance of the Almees, Le Desert, L’Eden, Herculanem, Meyerbeer, Halevy, Leopold Robert, Desert Symphony, "Jonathan David Little"
As published in FoMRHI Quarterly [Journal of the Fellowship of Makers and Researchers of Historic Instruments]. Publisher: Jeremy Montagu, Oxford.
Little, Jonathan D. (1999), The Sistrum – and How to Make One. FoMRHI Quarterly [Journal of the Fellowship of Makers and Researchers of Historic Instruments] (97), pp. 29-33 (comm.1673).
KEYWORDS: sistrum, percussion, Isis, Ancient Egypt, Cleopatra, Hector Berlioz, Les Troyens, Georges Kastner, "Jonathan David Little"
SEE FURTHER: https://www.academia.edu/38444668/Postscript_to_Comm._1673_on_The_Sistrum_FoMRHI_Quarterly_98_Jan._2000_40_comm.1689_
As published in FoMRHI Quarterly [Journal of the Fellowship of Makers and Researchers of Historic Instruments]. Publisher: Jeremy Montagu, Oxford.
Little, Jonathan D. (2000), Postscript to Comm.1673 on "The Sistrum". FoMRHI Quarterly [FoMRHI Quarterly is the Journal of the Fellowship of Makers and Researchers of Historic Instruments] (98), p.40 (comm.1689).
KEYWORDS: sistrum, percussion, Isis, Ancient Egypt, Cleopatra, Battle of Actium, Abyssinia, Charles Burney, "Jonathan David Little"
SEE ALSO: https://www.academia.edu/38444614/The_Sistrum_and_How_to_Make_One_FoMRHI_Quarterly_97_Oct._1999_29-33_comm.1673_
"Music industry pundits from around the world seem agreed that we are on the cusp of one of the great transitions of music history. ..."
MAGAZINE AND FULL TEXT ONLINE AT:
https://issuu.com/sagamoreinstitute5/docs/are_you_being_served?e=34272268/63893045
Little, Jonathan, “Celestial Jukebox” [2,500 words]. American Outlook (Jan/Feb, 2001), 42-44. [ISSN 1099-8896]
KEYWORDS: Music Industry, Music Business History, Digital Distribution, "Jonathan David Little"
A summary of the implications of digital distribution for the world-wide film, music and games industries. E-cinema and cyber-entertainment are hastening the Napsterization of Hollywood--and a thorough, radical transformation of our entertainment media.
"In business and the economy, Jonathan Little discovers that keeping pace with the rapid digitization of Hollywood and the resulting changes in entertainment media is not nearly as difficult as finding someone to pay for it."
MAGAZINE & FULL TEXT ONLINE AT: https://issuu.com/sagamoreinstitute5/docs/the_politics_of_compassion?e=34272268/63892487
Little, Jonathan D., “Celestial Cinema”; or, “From Celluloid to Silicon: eCinema, Cyberentertainment and the Napsterization of Hollywood” [5,000 words]. American Outlook, Vol.IV, No.4 (July/Aug, 2001), 28-33. [ISSN 1099-8896]
KEYWORDS: Hollywood, Digital Cinema, Motion Picture Industry, Film Technology, Film Industry, "Jonathan David Little"
"In Business and the Economy, Jonathan Little argues that American popular music is blander than ever because, more than ever before, the global music industry puts a premium on profit rather than genuine creativity."
MAGAZINE AND FULL TEXT ONLINE AT:
https://issuu.com/sagamoreinstitute5/docs/fixing_the_family?e=34272268/64015287
Little, Jonathan D., “The Sound of Money” [4,000 words]. American Outlook, Vol.V, No.3 (Summer, 2002), 41-45. [ISSN 1099-8896]
KEYWORDS: Music Industry, Music Business, Popular Music, Global Music Industry, Songwriting, Commercial Music, "Jonathan David Little"
Little, J. D., 'Melancholia', Udolpho, Vol.35 (Winter, 1998), 8-13 [Chislehurst, Kent: Gargoyle's Head Press]. ISSN 1350-7796
IMPORTANT NOTE: THIS ARTICLE WAS PUBLISHED IN TWO VERSIONS (AND THE EARLIER, CONCISE ILLUSTRATED VERSION, IS HERE ATTACHED).
The more abbreviated version of this article (part-illustrated) was first published as ‘Melancholia: Mental Illness or Vital Creative Humour?’, in Udolpho, Vol.35 (Winter, 1998), 8-13 [Chislehurst, Kent: Gargoyle's Head Press] ISSN 1350-7796.
It was subsequently published, in full, as an ‘Essay’ appended to the author’s Forms and Possibilities: Selected Verse (Wollongong, NSW, Australia: Wirripang, 2011) ISBN 978187682923 SEE:
https://www.academia.edu/38510040/An_Essay_on_Melancholia_The_Muse_of_Bile_-_Perspectives_through_Time_in_Forms_and_Possibilities._Wollongong_Wirripang_2011_
KEYWORDS: Anatomy of Melancholy, Melancholy, Melancholia, Dame Melancholy, Malincholia, Melancholia atra bilis, Galen, Four Temperaments, sanguine, choleric, melancholic, phlegmatic, Albrecht Durer, Melencolia I, Agrippa von Nettesheim, James Thomson, Sir Philip Sidney, Artist's Melancholy, Robert Burton, Samuel Johnson, H B Lee, Marcel Proust, Paul Verlaine, Charles Baudelaire, John Milton, Paradise Lost, L'Allegro, Il Penseroso, Charles Lamb, Denis Diderot, Plato, Aristotle, Marsilio Ficino, Samuel Taylor Coleridge, William Wordsworth, Thomas Hood, Francisco Goya, Saturn, Saturn and Melancholy, Saturn Devouring His Son, Kronos, Jean Cocteau, Aleister Crowley, Florentine Neo-Platonists, Thomas Gray, John Fletcher, William Shakespeare, William Collins, City of Dreadful Night, John Keats, John Fowles, artist's temperament, furor divinus, furor melancholicus, mental derangement, divine frenzy, defence of the artist, "Jonathan David Little"
Revised and expanded 2011 version of an article on the subject of "Melancholia" [in the field of Aesthetics / Philosophy of Art] surveying the thoughts of leading philosophers, writers, artists, psychologists, and other scholars, from Classical times through to the Renaissance, and then focussing on the Romantic period.
Little, Jonathan D., 'An Essay on Melancholia: "The Muse of Bile" (Mental Illness or Vital Creative Humour?) - Perspectives through Time; An Appreciation and A Defence of the Artist’s Temperament' , in Forms and Possibilities: Selected Verse (Wollongong, NSW, Australia: Wirripang, 2011) ISBN 978187682923
IMPORTANT NOTE: THIS ARTICLE WAS PUBLISHED IN TWO VERSIONS (AND THE LATER, EXPANDED VERSION, IS HERE ATTACHED).
The abbreviated version of this article (part-illustrated) was first published as ‘Melancholia: Mental Illness or Vital Creative Humour?’, in Udolpho, Vol.35 (Winter, 1998), 8-13 [Chislehurst, Kent: Gargoyle's Head Press] ISSN 1350-7796.
SEE ALSO: https://www.academia.edu/38455313/Melancholia_Mental_Illness_or_Vital_Creative_Humour_Udolpho_vol.35_Winter_1998_8-13
It was then subsequently published, in full, as an ‘Essay’ appended to the author’s Forms and Possibilities: Selected Verse (Wollongong, NSW, Australia: Wirripang, 2011) ISBN 978187682923
KEYWORDS: Anatomy of Melancholy, Melancholy, Melancholia, Dame Melancholy, Malincholia, Melancholia atra bilis, Galen, Four Temperaments, sanguine, choleric, melancholic, phlegmatic, Albrecht Durer, Melencolia I, Agrippa von Nettesheim, James Thomson, Sir Philip Sidney, Artist's Melancholy, Robert Burton, Samuel Johnson, H B Lee, Marcel Proust, Paul Verlaine, Charles Baudelaire, John Milton, Paradise Lost, L'Allegro, Il Penseroso, Charles Lamb, Denis Diderot, Plato, Aristotle, Marsilio Ficino, Samuel Taylor Coleridge, William Wordsworth, Thomas Hood, Francisco Goya, Saturn, Saturn and Melancholy, Saturn Devouring His Son, Kronos, Jean Cocteau, Aleister Crowley, Florentine Neo-Platonists, Thomas Gray, John Fletcher, William Shakespeare, William Collins, City of Dreadful Night, John Keats, John Fowles, artist's temperament, furor divinus, furor melancholicus, mental derangement, divine frenzy, defence of the artist, "Jonathan David Little"
Published online, and also made available as an off-print.
KEYWORDS: Music Industry, Music Business History, Digital Distribution, "Jonathan David Little"
First published in Music Business Journal (Ligo Publishing Ltd.) in 2001. Republished, in updated form, in the Musicians' and Songwriters' Yearbook 2008 (London: A&C Black, 31st July 2007), 339-345.
KEYWORDS: Copyright, History of Copyright, Copyright Law, Intellectual Property Law, Music Copyright, Copyright in Music, Music and Copyright, "Jonathan David Little"
Little, Jonathan D. (2001), 'Exoticism Globalised in a New Century: The Forgotten Roots of World Music', in Music Business Journal (www.musicjournal.org). ISSN 1473-6233
[Initially published in 2001 in Music Business Journal - htttp://www.musicjournal.org - one of the world's first online music business journals (no longer extant).]
KEYWORDS: World Music, Exoticism, Orientalism, First World, Second World, Third World, Fourth World, Eastern Music, Traditional Music, "Jonathan David Little"
Little, Jonathan, “Nostalgia, Exoticism and Brilliant Colour”, Arts Rondo (Melbourne: Stanton) (Winter, 1992), 25-30.
KEYWORDS: oriental, orientalism, exoticism, nostalgia, colour, Oswald Spengler, Hermann Hesse, Gustav Mahler, Charles Blanc, Marcel Proust, Judith Gautier, Loie Fuller, Art Nouveau, Richard Hovey, Arthur Rimbaud, Paul Verlaine, Charles Baudelaire, Victor Hugo, Henri Matisse, Andre Derain, Paul Gauguin, Auguste Renoir, Les Fauves, Nicolay Rimsky-Korsakov, Johannes Brahms, Maurice Ravel, James Elroy Flecker, Georges Bizet, Alphonse Daudet, Charles-Marie Widor, Georges Seurat, Decadence, Walter Crane, Claude Monet, Jane Austen, Byron, John Nash, Charles Barry, Augustus Pugin, Horace Walpole, Gustav Holst, Earl of Eglinton, Charles Reade, Walter Scott, Ann Radcliffe, Charlotte Bronte, Charles Dickens, Walter Crane, Italian Futurists, Emilio Marinetti, Luigi Russolo, "Jonathan David Little"
SEE ALSO: https://www.academia.edu/38444533/Musical_Instruments_Evocative_of_the_Ancient_Orient_FoMRHI_Quarterly_99_April_2000_21-30_comm.1707_
"Based on the experience of mounting successful concerts, producing records, providing the blueprints for new music courses, and even helping design purpose-built facilities for music, Jonathan Little codifies the main points to be considered when co-ordinating a new music-based project."
ABOUT THE MUSICIANS' AND SONGRITERS' YEARBOOK:
"The essential 'black book' to the music world, this authoritative reference book contains contact names and vital information covering all aspects of the industry. ... Packed with all the latest information on the industry, this is a book to suit all types of musicians, whether from a rock and pop, jazz or classical background." (From the publisher of "Writers' and Artists' Yearbook".)
With a Foreword by John Kennedy, OBE, former President of Universal Music International, and Chairman of the International Federation of the Phonographic Industry.
Little, Jonathan and Katie Chatburn, eds., The Musicians’ and Songwriters’ Yearbook 2008, rev. 2nd edn. [200,000 WORDS] (London: A&C Black, 2007). ISBN 9780713684728
See: http://www.amazon.co.uk/Musicians-Songwriters-Yearbook-2008-Essential/dp/0713684720 [ISBN 0-7136-8472-0].
KEYWORDS: Music Business. Music Industry, Music Entrepreneurship, British Music Industry, "Jonathan David Little", Artistic Projects
SEE ALSO: https://www.academia.edu/38499308/Financing_New_Music-Business_Ventures_in_J._Little_and_K._Chatburn_eds._Musicians_and_Songwriters_Yearbook_2008_2nd_edn._._London_A_and_C_Black_2007_pp.322-325
Excerpts reproduced by kind permission of the original Commissioning Editor at A & C Black (Bloomsbury Publishing PLC), and reconfirmed by the Permissions Manager at Bloomsbury Publishing in 2019.
"In the following aide-memoire, Jonathan Little outlines some of the practicalities that need to be addressed regarding the financial aspects of new and growing businesses."
ABOUT THE MUSICIANS' AND SONGRITERS' YEARBOOK:
"The essential 'black book' to the music world, this authoritative reference book contains contact names and vital information covering all aspects of the industry. ... Packed with all the latest information on the industry, this is a book to suit all types of musicians, whether from a rock and pop, jazz or classical background." (From the publisher of "Writers' and Artists' Yearbook".)
With a Foreword by John Kennedy, OBE, former President of Universal Music International, and Chairman of the International Federation of the Phonographic Industry.
Little, Jonathan and Katie Chatburn, eds., The Musicians’ and Songwriters’ Yearbook 2008, rev. 2nd edn. [200,000 WORDS] (London: A&C Black, 2007). ISBN 9780713684728
See: http://www.amazon.co.uk/Musicians-Songwriters-Yearbook-2008-Essential/dp/0713684720 [ISBN 0-7136-8472-0].
KEYWORDS: Music Business. Music Industry, Music Entrepreneurship, British Music Industry, "Jonathan David Little"
SEE ALSO: https://www.academia.edu/38499406/New_Artistic_Projects_Some_Methods_of_Proceeding_in_J._Little_and_K._Chatburn_eds._Musicians_and_Songwriters_Yearbook_2008_2nd_edn._._London_A_and_C_Black_2007_pp.121-122
Excerpts reproduced by kind permission of the original Commissioning Editor at A & C Black (Bloomsbury Publishing PLC), and reconfirmed by the Permissions Manager at Bloomsbury Publishing in 2019.
[N.B.: This is one of SEVERAL possible ways of structuring theses or dissertations. Past high-scoring dissertations should be examined in order to help find the most appropriate model and format for your own work.]
KEYWORDS: dissertation sample, thesis sample, undergraduate research
ABOUT "KYRIE":
For a cappella SATB Double Choir, with SSA and SA Soloists:
SATB Choir 1: 2xS, 2xA, 2xT, 2xB (8) = min.2 voices per line for divisi (SSAATTBB)* (stage left side) +
SATB Choir 2: 2xS, 2xA, 2xT, 2xB (8) = min.2 voices per line for divisi (SSAATTBB)* (stage right side) +
Gallery/Offstage Soloists 1: 2xS (for divisi) + 1xA (3) (SSA) (at a distance or offstage, and set antiphonally to:)
Gallery/Offstage Soloists 2: 1xS + 1xA (2) (SA) (in a high and more distant gallery or offstage)
= 1. SSAATTBB + 2. SSAATTBB + 3. SSA + 4. SA; or minimum of 21 singers: 7 sopranos; 6 altos; 4 tenors, 4 basses
(* But ideally at least double these forces: 16 per choir, or 32 for the two choirs + 5 soloists = 37 singers)
This a cappella setting for SATB double choir and soloists of the first section of the traditional Latin Mass – “Kyrie eleison” – is based around permutations of one central motif. The eight main vocal lines are sometimes further divided for fullness of texture and motivic completeness. At least 21 voices are required to perform the work (choir: SSAATTBB, SSAATTBB + soloists: SSA, SA). The short central section of this ternary form composition (“Christe eleison”) features high C's in both treble parts, and requires extra soprano and alto soloists to be present offstage (or situated in a gallery), a little removed from the main body of the choir.
Kyrie was first sketched out in 1985 – and only completed, published, and recorded, two decades later. It was first performed in November 2005, during the historic Thomas Tallis 500th anniversary concerts held at Waltham Abbey, Essex (where Tallis worked) and St. Alfege, Greenwich (his burial place). It is appropriate, perhaps, that this work should first have been heard alongside such grand, 40-part polychoral motets as Tallis’s Spem in alium and Striggio’s Ecce beatam lucem.
Kyrie eleison.
Christe eleison.
Kyrie eleison.
SEE (with pictures of venues): https://youtu.be/KdV7eKZiGhg
LATEST RECORDING RELEASE ON CD ALBUM "WOEFULLY ARRAYED" (2017) - Nominated for "Best Classical Music Recording", ROUNDGLASS MUSIC AWARDS 2018 (USA-INDIA)
http://www.navonarecords.com/catalog/nv6113/
https://www.amazon.co.uk/Jonathan-Little-Woefully-Futura-Simms/dp/B073LJYW7M
FOR VERSION WITH SCROLLING SCORE on YOUTUBE, SEE: https://youtu.be/VIpvPYo0NAw
Premiere performance of this unaccompanied polychoral work by composer Jonathan David Little (from his "Missa Temporis Perditi") first given at the historic Tallis 500th anniversary celebrations at Waltham Abbey, Essex (where Tallis worked), and at St Alfege, Greenwich (where he is buried) - by 60 voices of the Thomas Tallis Society Choir directed by Philip Simms; then subsequently at the Good Friday Tenebrae Concert in Wells Cathedral by the Bath Camerata conducted by Nigel Perrin. Issued on Dilute Recordings and featured in the French film, "Nuit de la Glisse" (Uppercut Entertainment).
Publisher: Publications by Wirripang.
SCORE AVAILABLE AT:
https://www.australiancomposers.com.au/collections/composers-and-authors/products/kyrie-op-5
On CD at NAXOS DIRECT: https://naxosdirect.com/items/woefully-arrayed-410725
POLYCHORAL PROJECT REVIEWS 2017-18:
http://myppk.com/Users/5816/PDFs/d11c6713-36fe.pdf
LINK to PODCAST INTERVIEW on WCPE-FM (US) about "POLYCHORAL MUSIC" (7 mins.):
https://theclassicalstation.org/podcasts/jonathan_david_little_woefully_arrayed.mp3
Also included on Jonathan David Little's first major album release - as Track 1 of "Terpsichore and Other Works" - a Fanfare magazine recommended recording for 2008. Contact publisher or composer for performance queries. A version also included as Track 5 on the 2012 album "Polyhymnia" (distributed by Naxos of America).
AMAZON LINK: https://www.amazon.co.uk/Polyhymnia-String-Orchestral-Choral-Jonathan/dp/B006O8K458/ref=sr_1_fkmr0_1?ie=UTF8&qid=1422823982&sr=8-1-fkmr0&keywords=jonathan+david+little+polyhymnia
Master recording owned by the composer. All Rights Reserved.
AWARDS:
(1) TALLIS COMMEMORATION MEDAL 2005 (Bestowed by the Thomas Tallis Society Choir) (UK)
(2) ROYAL PHILHARMONIC SOCIETY / BBC RADIO 3 "ENCORE Choral" AWARD 2016-18 (UK)
(3) "BEST CLASSICAL MUSIC RECORDING" NOMINATION – ROUNDGLASS GLOBAL MUSIC AWARDS 2018 (USA-INDIA), as recorded on the album, "Woefully Arrayed" (Navona NV6113, 2017)
SELECTED INTERNATIONAL MUSIC REVIEWS:
“[emulates] the timeless qualities of early music ... In Kyrie, Opus 5, for 60-voice choir, he actually directs the extra soprano and alto soloists to play a crucial off-stage part – even ‘removed to a gallery’: perhaps a modern translation of Giovanni Gabrieli’s polyphonic exploitation of the rich internal architecture of St. Marks Basilica, Venice.” – John Wheatley, Tempo, Vol.62: No.243 (Jan. 2008), pp.88-89 (UK)
“An inspired creation …. voluptuous sonorities … beautifully expansive” – Patric Standford, Music and Vision (16th May, 2009) (UK)
“very well crafted ... very effective” - Stephen Layton, Choral Conductor and Director of Music, Trinity College, Cambridge (October 2009) (UK)
‘Yet even this beauty is surpassed by the piece that concludes the album – “Kyrie, Op.5 (from Missa Temporis Perditi)”. Sixty ethereal voices of the Royal Peculiar Church of St. Alfege in Greenwich, in the United Kingdom, blend to create one of the finest vocal groups that I have ever heard. Without a doubt, from when the music starts, until it ends, there are magnificent and uplifting passages; the voices produce the most amazing, spine-tingling effect. There is just no adequate way to describe this work.’ – Alejandro Clavijo, in Reviews New Age (February, 2012) (SPAIN)
‘The notes quote one unnamed commentator as stating that the music is “completely novel, yet hauntingly familiar.” This seems a fair assessment, in that no other composer among the thousands whose music I’ve heard immediately comes to mind … Perhaps Górecki in certain of his more tonal works comes closest, although Little’s music is about seven notches above the quality of that of the Polish composer … The disc’s closing work, the Kyrie from Little’s Missa Temporis perditi, is my favorite on the CD. Soaring lines in the sopranos, taking them up to high C, suggest the majesty of the words of the Kyrie. … Harmonies shift around a good bit, but the direction of the work is never in doubt as it moves to its dramatic conclusion. The spacious acoustic of the recording venue adds to the otherworldly effect.’ – David DeBoor Canfield, “Polyhymnia …”, in Fanfare, Vol.36, No.1 (Sept/Oct 2012) (USA)
“The highlight of this disc is the Kyrie from his Missa Temporis Perditi … It is an eloquent and expansive work sung here by the Thomas Tallis Chamber Choir, a large a cappella group from which conductor Philip Simms draws opulent sonorities. Little composes with a great array of technical skills and his works are both harmonically and contrapuntally pleasing. He knows how to bring out all the colors of the choral palette, and that is what makes the Kyrie such a fascinating piece. I want to hear the rest of the Mass.” – Maria Nockin, “Polyhymnia …”, in Fanfare, Vol.36, No.1 (Sept/Oct 2012) (USA)
About JONATHAN DAVID LITTLE:
The atmospheric and evocative music of Jonathan David Little, BMus(Hons), ThA, PhD, FLCM, FISM, FRSA, is notable for its mystical beauty, intensity, richness of material, and intricate craftsmanship. He was the first composer to receive a Professional Development Award from the UK music business’s own charity, the Musicians’ Benevolent Fund, and in 2011 was awarded the prestigious Collard Fellowship of the Worshipful Company of Musicians (est.1500). In 2016 he won a Royal Philharmonic Society "ENCORE Choral" Award (UK), in 2017 Special Distinction for his orchestral music in the ASCAP Rudolf Nissim Prize (USA) – and in January 2018 his polychoral Kyrie was nominated for "Best Classical Music Recording" at the inaugural RoundGlass Global Music Awards (USA-INDIA). His entire body of polychoral music was also nominated for the 2018 CHASS Australia Prize – the nation’s premier award in the Arts and Humanities. He has also received BBC, Fanfare, Authors’ Foundation, Chagrin, Bliss, Leighton Trust, and other distinguished awards in the UK, USA and Australia.
COMPOSER WEBSITE: www.JonathanLittle.org
KEYWORDS: Kyrie, Kyrie eleison, a cappella, a capella, double choir, polychoral, cori spezzati, "Jonathan David Little", polychoralism, polychorality, choral music, contemporary choral music, cori spezzati, spatial placement in music, acoustics of performing spaces, Thomas Tallis Society Choir, Philip Simms
[For first two performances, see: https://www.academia.edu/38828905/Kyrie_Op.5_for_SATB_Double_Choir_and_Soloists_WORLD_PREMIERE_and_SECOND_PERFORMANCE_2005_UK_._MUSICAL_COMPOSITION_ ]
ABOUT "KYRIE":
For a cappella SATB Double Choir, with SSA and SA Soloists:
SATB Choir 1: 2xS, 2xA, 2xT, 2xB (8) = min.2 voices per line for divisi (SSAATTBB)* (stage left side) +
SATB Choir 2: 2xS, 2xA, 2xT, 2xB (8) = min.2 voices per line for divisi (SSAATTBB)* (stage right side) +
Gallery/Offstage Soloists 1: 2xS (for divisi) + 1xA (3) (SSA) (at a distance or offstage, and set antiphonally to:)
Gallery/Offstage Soloists 2: 1xS + 1xA (2) (SA) (in a high and more distant gallery or offstage)
= 1. SSAATTBB + 2. SSAATTBB + 3. SSA + 4. SA; or minimum of 21 singers: 7 sopranos; 6 altos; 4 tenors, 4 basses
(* But ideally at least double these forces: 16 per choir, or 32 for the two choirs + 5 soloists = 37 singers)
This a cappella setting for SATB double choir and soloists of the first section of the traditional Latin Mass – “Kyrie eleison” – is based around permutations of one central motif. The eight main vocal lines are sometimes further divided for fullness of texture and motivic completeness. At least 21 voices are required to perform the work (choir: SSAATTBB, SSAATTBB + soloists: SSA, SA). The short central section of this ternary form composition (“Christe eleison”) features high C's in both treble parts, and requires extra soprano and alto soloists to be present offstage (or situated in a gallery), a little removed from the main body of the choir.
Kyrie was first sketched out in 1985 – and only completed, published, and recorded, two decades later. It was first performed in November 2005, during the historic Thomas Tallis 500th anniversary concerts held at Waltham Abbey, Essex (where Tallis worked) and St. Alfege, Greenwich (his burial place). It is appropriate, perhaps, that this work should first have been heard alongside such grand, 40-part polychoral motets as Tallis’s Spem in alium and Striggio’s Ecce beatam lucem.
Kyrie eleison.
Christe eleison.
Kyrie eleison.
SEE (with pictures of venues): https://youtu.be/KdV7eKZiGhg
LATEST RECORDING RELEASE ON CD ALBUM "WOEFULLY ARRAYED" (2017) - Nominated for "Best Classical Music Recording", ROUNDGLASS MUSIC AWARDS 2018 (USA-INDIA)
http://www.navonarecords.com/catalog/nv6113/
https://www.amazon.co.uk/Jonathan-Little-Woefully-Futura-Simms/dp/B073LJYW7M
FOR VERSION WITH SCROLLING SCORE on YOUTUBE, SEE: https://youtu.be/VIpvPYo0NAw
Premiere performance of this unaccompanied polychoral work by composer Jonathan David Little (from his "Missa Temporis Perditi") first given at the historic Tallis 500th anniversary celebrations at Waltham Abbey, Essex (where Tallis worked), and at St Alfege, Greenwich (where he is buried) - by 60 voices of the Thomas Tallis Society Choir directed by Philip Simms; then subsequently at the Good Friday Tenebrae Concert in Wells Cathedral by the Bath Camerata conducted by Nigel Perrin. Issued on Dilute Recordings and featured in the French film, "Nuit de la Glisse" (Uppercut Entertainment).
Publisher: Publications by Wirripang.
SCORE AVAILABLE AT:
https://www.australiancomposers.com.au/collections/composers-and-authors/products/kyrie-op-5
On CD at NAXOS DIRECT: https://naxosdirect.com/items/woefully-arrayed-410725
POLYCHORAL PROJECT REVIEWS 2017-18:
http://myppk.com/Users/5816/PDFs/d11c6713-36fe.pdf
Also included on Jonathan David Little's first major album release - as Track 1 of "Terpsichore and Other Works" - a Fanfare magazine recommended recording for 2008. Contact publisher or composer for performance queries. A version also included as Track 5 on the 2012 album "Polyhymnia" (distributed by Naxos of America).
AMAZON LINK: https://www.amazon.co.uk/Polyhymnia-String-Orchestral-Choral-Jonathan/dp/B006O8K458/ref=sr_1_fkmr0_1?ie=UTF8&qid=1422823982&sr=8-1-fkmr0&keywords=jonathan+david+little+polyhymnia
Master recording owned by the composer. All Rights Reserved.
AWARDS:
(1) TALLIS COMMEMORATION MEDAL 2005 (Bestowed by the Thomas Tallis Society Choir) (UK)
(2) ROYAL PHILHARMONIC SOCIETY / BBC RADIO 3 "ENCORE Choral" AWARD 2016-18 (UK)
(3) "BEST CLASSICAL MUSIC RECORDING" NOMINATION – ROUNDGLASS GLOBAL MUSIC AWARDS 2018 (USA-INDIA), as recorded on the album, "Woefully Arrayed" (Navona NV6113, 2017)
SELECTED INTERNATIONAL MUSIC REVIEWS:
“[emulates] the timeless qualities of early music ... In Kyrie, Opus 5, for 60-voice choir, he actually directs the extra soprano and alto soloists to play a crucial off-stage part – even ‘removed to a gallery’: perhaps a modern translation of Giovanni Gabrieli’s polyphonic exploitation of the rich internal architecture of St. Marks Basilica, Venice.” – John Wheatley, Tempo, Vol.62: No.243 (Jan. 2008), pp.88-89 (UK)
“An inspired creation …. voluptuous sonorities … beautifully expansive” – Patric Standford, Music and Vision (16th May, 2009) (UK)
“very well crafted ... very effective” - Stephen Layton, Choral Conductor and Director of Music, Trinity College, Cambridge (October 2009) (UK)
‘Yet even this beauty is surpassed by the piece that concludes the album – “Kyrie, Op.5 (from Missa Temporis Perditi)”. Sixty ethereal voices of the Royal Peculiar Church of St. Alfege in Greenwich, in the United Kingdom, blend to create one of the finest vocal groups that I have ever heard. Without a doubt, from when the music starts, until it ends, there are magnificent and uplifting passages; the voices produce the most amazing, spine-tingling effect. There is just no adequate way to describe this work.’ – Alejandro Clavijo, in Reviews New Age (February, 2012) (SPAIN)
‘The notes quote one unnamed commentator as stating that the music is “completely novel, yet hauntingly familiar.” This seems a fair assessment, in that no other composer among the thousands whose music I’ve heard immediately comes to mind … Perhaps Górecki in certain of his more tonal works comes closest, although Little’s music is about seven notches above the quality of that of the Polish composer … The disc’s closing work, the Kyrie from Little’s Missa Temporis perditi, is my favorite on the CD. Soaring lines in the sopranos, taking them up to high C, suggest the majesty of the words of the Kyrie. … Harmonies shift around a good bit, but the direction of the work is never in doubt as it moves to its dramatic conclusion. The spacious acoustic of the recording venue adds to the otherworldly effect.’ – David DeBoor Canfield, “Polyhymnia …”, in Fanfare, Vol.36, No.1 (Sept/Oct 2012) (USA)
“The highlight of this disc is the Kyrie from his Missa Temporis Perditi … It is an eloquent and expansive work sung here by the Thomas Tallis Chamber Choir, a large a cappella group from which conductor Philip Simms draws opulent sonorities. Little composes with a great array of technical skills and his works are both harmonically and contrapuntally pleasing. He knows how to bring out all the colors of the choral palette, and that is what makes the Kyrie such a fascinating piece. I want to hear the rest of the Mass.” – Maria Nockin, “Polyhymnia …”, in Fanfare, Vol.36, No.1 (Sept/Oct 2012) (USA)
About JONATHAN DAVID LITTLE:
The atmospheric and evocative music of Jonathan David Little, BMus(Hons), ThA, PhD, FLCM, FISM, FRSA, is notable for its mystical beauty, intensity, richness of material, and intricate craftsmanship. He was the first composer to receive a Professional Development Award from the UK music business’s own charity, the Musicians’ Benevolent Fund, and in 2011 was awarded the prestigious Collard Fellowship of the Worshipful Company of Musicians (est.1500). In 2016 he won a Royal Philharmonic Society "ENCORE Choral" Award (UK), in 2017 Special Distinction for his orchestral music in the ASCAP Rudolf Nissim Prize (USA) – and in January 2018 his polychoral Kyrie was nominated for "Best Classical Music Recording" at the inaugural RoundGlass Global Music Awards (USA-INDIA). His entire body of polychoral music was also nominated for the 2018 CHASS Australia Prize – the nation’s premier award in the Arts and Humanities. He has also received BBC, Fanfare, Authors’ Foundation, Chagrin, Bliss, Leighton Trust, and other distinguished awards in the UK, USA and Australia.
COMPOSER WEBSITE: www.JonathanLittle.org
KEYWORDS: Kyrie, Kyrie eleison, a cappella, a capella, double choir, polychoral, cori spezzati, "Jonathan David Little", polychoralism, polychorality, choral music, contemporary choral music, cori spezzati, spatial placement in music, acoustics of performing spaces, Bath Camerata, Nigel Perrin
ABOUT "SACRED PRELUDE":
Originally written for string quintet as “Opus 1”, this piece was recently arranged for full string orchestra by the composer (as Opus 15), working in conjunction with film orchestrator, Anthony Weeden (whose credits include Sherlock and The Theory of Everything).
A natural rubato is felt throughout this haunting, single-movement work for string orchestra. The sound is reminiscent of that of ancient church music. Written in the stile antico, it opens with a “Plainsong”, then comes the main central “Anthem”. There is a brief reprise of the opening theme, before the work closes with a more emphatic “Fantasia” (where the sense of rubato becomes almost improvisatory). The work, as a whole, may be said to comprise a poignant “prayer” for strings.
US PREMIERE was in a St. Patrick's Day Concert in New York - Sunday March 17 at 3pm, 2019 - in the historic Christ and St. Stephen's Church (120 West 69th Street, NY 10023 - between Broadway and Columbus), Upper West Side, Manhattan, New York City (USA), with the North-South Chamber Orchestra, conducted by Max Lifchitz.
SEE ALSO:
https://www.academia.edu/38522941/Sacred_Prelude_Op.15_for_String_Orchestra_US_PREMIERE_PERFORMANCE_2019_._MUSICAL_COMPOSITION_
YOUTUBE LINK (with SCORE): https://youtu.be/1guJVKqM9o8
OR: https://britishmusiccollection.org.uk/score/sacred-prelude-op15-full-string-orchestra-version
YOUTUBE LINK (from LIVE UK PERFORMANCE of simplified version, Op.15A):
https://youtu.be/oajBje51U1M
SCORE and PARTS PUBLISHED AT:
https://www.australiancomposers.com.au/collections/composers-and-authors/products/sacred-prelude-op-15
REVIEWS [of the original string quintet version]:
* "a beautiful serenade" - American Record Guide (USA), May-June 2012
* "yearningly lovely" - Music OMH (UK), November 2008
* "intensely ethereal" - Tempo (UK), January 2008
* "a work of beauty and sincerity" - conductor Robert Ian Winstin (USA), recording with string soloists of the Czech Philharmonic Orchestra in 2006
About JONATHAN DAVID LITTLE:
The atmospheric and evocative music of Jonathan David Little, BMus(Hons), ThA, PhD, FLCM, FISM, FRSA, is notable for its mystical beauty, intensity, richness of material, and intricate craftsmanship. He was the first composer to receive a Professional Development Award from the UK music business’s own charity, the Musicians’ Benevolent Fund, and in 2011 was awarded the prestigious Collard Fellowship of the Worshipful Company of Musicians (est.1500). In 2016 he won a Royal Philharmonic Society "ENCORE Choral" Award (UK), in 2017 Special Distinction for his orchestral music in the ASCAP Rudolf Nissim Prize (USA) – and in January 2018 his polychoral Kyrie was nominated for "Best Classical Music Recording" at the inaugural RoundGlass Global Music Awards (USA-INDIA). His entire body of polychoral music was also nominated for the 2018 CHASS Australia Prize – the nation’s premier award in the Arts and Humanities. He has also received BBC, Fanfare, Authors’ Foundation, Chagrin, Bliss, Leighton Trust, and other distinguished awards in the UK, USA and Australia.
COMPOSER WEBSITE: www.JonathanLittle.org
Premiere performance video recorded by kind permission of the Dean and Chapter of Chichester Cathedral, and of the performers.
*** SEE THE FULL LIVE PERFORMANCE AT: https://youtu.be/oajBje51U1M
ABOUT "SACRED PRELUDE":
Originally written for string quintet as “Opus 1”, this piece was recently arranged for full string orchestra by the composer (as Opus 15), working in conjunction with film orchestrator, Anthony Weeden (whose credits include Sherlock and The Theory of Everything).
A natural rubato is felt throughout this haunting, single-movement work for string orchestra. The sound is reminiscent of that of ancient church music. Written in the stile antico, it opens with a “Plainsong”, then comes the main central “Anthem”. There is a brief reprise of the opening theme, before the work closes with a more emphatic “Fantasia” (where the sense of rubato becomes almost improvisatory). The work, as a whole, may be said to comprise a poignant “prayer” for strings.
Note: There is the option for all parts to play the entire work con sord. (with the exception of the final violin solo – from bar 146); but the work should always be played as expressively as possible, throughout.
OPUS 15A IS A SIMPLIFIED VERSION of OPUS 15, MORE SUITED to AMATEUR STRING ORCHESTRAS, and/or WHERE REHEARSAL TIME IS VERY LIMITED. (The key signature is made more straightforward in this version, and various ossia and doubling options are also made available.)
SEE ALSO:
https://www.academia.edu/38536443/Sacred_Prelude_Op.15_for_String_Orchestra_WORLD_PREMIERE_PERFORMANCE_2018_UK_._MUSICAL_COMPOSITION_
AND:
https://www.academia.edu/38522941/Sacred_Prelude_Op.15_for_String_Orchestra_US_PREMIERE_PERFORMANCE_2019_._MUSICAL_COMPOSITION_
SCORE and PARTS PUBLISHED AT:
https://www.australiancomposers.com.au/collections/composers-and-authors/products/sacred-prelude-op-15
REVIEWS [of the original string quintet version]:
* "a beautiful serenade" - American Record Guide (USA), May-June 2012
* "yearningly lovely" - Music OMH (UK), November 2008
* "intensely ethereal" - Tempo (UK), January 2008
* "a work of beauty and sincerity" - conductor Robert Ian Winstin (USA), recording with string soloists of the Czech Philharmonic Orchestra in 2006
About JONATHAN DAVID LITTLE:
The atmospheric and evocative music of Jonathan David Little, BMus(Hons), ThA, PhD, FLCM, FISM, FRSA, is notable for its mystical beauty, intensity, richness of material, and intricate craftsmanship. He was the first composer to receive a Professional Development Award from the UK music business’s own charity, the Musicians’ Benevolent Fund, and in 2011 was awarded the prestigious Collard Fellowship of the Worshipful Company of Musicians (est.1500). In 2016 he won a Royal Philharmonic Society "ENCORE Choral" Award (UK), in 2017 Special Distinction for his orchestral music in the ASCAP Rudolf Nissim Prize (USA) – and in January 2018 his polychoral Kyrie was nominated for "Best Classical Music Recording" at the inaugural RoundGlass Global Music Awards (USA-INDIA). His entire body of polychoral music was also nominated for the 2018 CHASS Australia Prize – the nation’s premier award in the Arts and Humanities. He has also received BBC, Fanfare, Authors’ Foundation, Chagrin, Bliss, Leighton Trust, and other distinguished awards in the UK, USA and Australia.
COMPOSER WEBSITE: www.JonathanLittle.org
North-South Chamber Orchestra, conducted by Max Lifchitz ("bringing the best in contemporary music to New York City audiences for almost 4 decades"). Maestro Lifchitz dedicated the performance to the memory of those who perished during the terrorist attacks on 15th March 2019, in Christchurch, New Zealand.
US PRESS PROMOTION:
1) Musical America Worldwide: https://www.musicalamerica.com/news/newsstory.cfm?archived=0&storyID=42276&categoryID=5
2) Broadway World: https://www.broadwayworld.com/article/New-Chamber-Orchestra-Music-by-Composers-from-Australia-Ireland-and-the-US-Will-Perform-in-St-Patricks-Day-Concert-20190305
ABOUT "SACRED PRELUDE":
Originally written for string quintet as “Opus 1”, this piece was recently arranged for full string orchestra by the composer (as Opus 15), working in conjunction with film orchestrator, Anthony Weeden (whose credits include Sherlock and The Theory of Everything).
A natural rubato is felt throughout this haunting, single-movement work for string orchestra. The sound is reminiscent of that of ancient church music. Written in the stile antico, it opens with a “Plainsong”, then comes the main central “Anthem”. There is a brief reprise of the opening theme, before the work closes with a more emphatic “Fantasia” (where the sense of rubato becomes almost improvisatory). The work, as a whole, may be said to comprise a poignant “prayer” for strings.
UK PREMIERE was Nov. 30 2018, Regent Hall, Oxford Street, London (UK) with the London New Strings, conducted by David Sutton-Anderson.
SEE ALSO:
https://www.academia.edu/38536443/Sacred_Prelude_Op.15_for_String_Orchestra_WORLD_PREMIERE_PERFORMANCE_2018_UK_._MUSICAL_COMPOSITION_
YOUTUBE LINK (with SCORE): https://youtu.be/1guJVKqM9o8
OR: https://britishmusiccollection.org.uk/score/sacred-prelude-op15-full-string-orchestra-version
YOUTUBE LINK (from LIVE UK PERFORMANCE of simplified version, Op.15A):
https://youtu.be/oajBje51U1M
SCORE and PARTS PUBLISHED AT:
https://www.australiancomposers.com.au/collections/composers-and-authors/products/sacred-prelude-op-15
REVIEWS [of the original string quintet version]:
* "a beautiful serenade" - American Record Guide (USA), May-June 2012
* "yearningly lovely" - Music OMH (UK), November 2008
* "intensely ethereal" - Tempo (UK), January 2008
* "a work of beauty and sincerity" - conductor Robert Ian Winstin (USA), recording with string soloists of the Czech Philharmonic Orchestra in 2006
About JONATHAN DAVID LITTLE:
The atmospheric and evocative music of Jonathan David Little, BMus(Hons), ThA, PhD, FLCM, FISM, FRSA, is notable for its mystical beauty, intensity, richness of material, and intricate craftsmanship. He was the first composer to receive a Professional Development Award from the UK music business’s own charity, the Musicians’ Benevolent Fund, and in 2011 was awarded the prestigious Collard Fellowship of the Worshipful Company of Musicians (est.1500). In 2016 he won a Royal Philharmonic Society "ENCORE Choral" Award (UK), in 2017 Special Distinction for his orchestral music in the ASCAP Rudolf Nissim Prize (USA) – and in January 2018 his polychoral Kyrie was nominated for "Best Classical Music Recording" at the inaugural RoundGlass Global Music Awards (USA-INDIA). His entire body of polychoral music was also nominated for the 2018 CHASS Australia Prize – the nation’s premier award in the Arts and Humanities. He has also received BBC, Fanfare, Authors’ Foundation, Chagrin, Bliss, Leighton Trust, and other distinguished awards in the UK, USA and Australia.
COMPOSER WEBSITE: www.JonathanLittle.org
'Crucifixus' is an Anthem (or "Lenten Carol" in 12 parts) for AATTBB Choir and 2 x SSA Soloists (or Choirs) – with optional Organ and Instrumental accompaniment (reinforcing and/or vocal part replacement):
AATTBB Choir [Choir 1] (minimum 2 voices per line) (stage middle front) +
SSA Soloists [or Choir 2, if doubling parts]* (stage left back, or left gallery) +
SSA Soloists [or Choir 3, if doubling parts]* (stage left right, or right gallery)
= 1. AAAATTTTBBBB + 2. SSA + 3. SSA; or minimum of 18 singers: 4 sopranos; 6 altos; 4 tenors, 4 basses
(* If treating 2 & 3 as Choirs rather than Soloists, min.6 per choir = 2. SSSSAA + 3. SSSSAA: thus 24 overall – being effectively a 12-part ‘Triple Choir’)
(From excerpts of text attributed to John Skelton [ca.1463-1529])
It is one of a set of ambitious, large-scale, contemporary "polychoral" works.
ABOUT THE MUSIC
Written to commemorate the 50th Anniversary of the National Boys’ Choir of Australia (founded 1964), and dedicated to the memory of Harold Bird, OAM (1922-2015), the score is marked, “Slow and Spacious”, and “Maestoso (In Wonder)” – with the refrain becoming ever-more decorated on each return. Despite the subject matter, the mood of the refrain is more one of glory and awe, rather than mere dolefulness. The intimate verse, by contrast, is marked, “Teneramente e sostenuto” (“Tenderly and sustained”).
'Crucifixus' (Op.13a) is actually the most concise version of a much longer work, entitled "Woefully Arrayed" (Op.13), the latter of which contains three verses and four refrains, runs a full 26 minutes, and has something of an hypnotic, time-defeating quality about it. Abridged versions of Woefully Arrayed can be performed by commencing the work from either the Second or – as here – Third Refrain.
The nature of its text makes it most appropriate for the Lenten season, in the lead up to Eastertide, and supremely fitting for performance on Good Friday.
YOUTUBE WORK LINK (with SCORE): https://www.youtube.com/watch?v=oyz9EH8xV8M
ALL YOUTUBE VIDEOS (with SCORES) - SEE: https://www.youtube.com/user/Musicalia65/videos
SEE ALSO: https://www.academia.edu/38490945/Polychorality_Some_Observations_Article_Diagrams_and_Contemporary_Choral_Work_Descriptions_in_Woefully_Arrayed_Sacred_and_Secular_Choral_and_Polychoral_Works_of_Jonathan_David_Little._North_Hampton_NH_USA_PARMA_Recordings_NV6113_2017_2-27
AND: https://www.academia.edu/38453411/The_Profundity_of_Polychoralism_Exploring_the_work_of_Jonathan_David_Little_Composer_Interview_and_CD_review_
AND:
https://www.academia.edu/38563610/Crucifixus_Op.13a_in_VOICES_of_EARTH_and_AIR_Vol.II_Works_for_Chorus._North_Hampton_NH_USA_PARMA_Recordings_NV6221_2019_._AUDIO_CD_
KEYWORDS: "Jonathan David Little", Woefully Arrayed, polychoral, polychoralism, polychorality, choral music, contemporary choral music, cori spezzati, spatial placement in music, acoustics of performing spaces, Crucifixus, triple choir, Chichester Singers, Jonathan Willcocks, Grand Choeur du Conservatoire de Chartres.
[Rehearsal photo shown]
* ROYAL PHILHARMONIC SOCIETY “ENCORE CHORAL” AWARD WINNER (UK);
* ROUNDGLASS “BEST CLASSICAL RECORDING” NOMINATION (USA-INDIA);
* “AUSTRALIA PRIZE" (for DISTINCTIVE WORK) FINALIST 2018.
Includes World Premiere Recordings.
OFFICIAL URL: http://navonarecords.com/catalog/nv6113/index.html
ABSTRACT
“A music redolent of the past and the future”
Several of the works in this collection feature intricate, a cappella, polychoral-inspired techniques. These include multi-part, multi-divisi, and unusual spatial effects (or cori spezzati – literally “split choirs” – as the technique was referred to in the Renaissance and early Baroque periods). Therefore different sections of the choir, or different “sub-choirs” and/or vocal soloists, are sometimes placed in various arrangements around and above the audience: this ancient technique being pioneered in modern form in “Kyrie”, Op.5, for 21 individual vocal lines – where some singers are stationed in a gallery, and at a distance. Some works also feature echo effects, as well as isorhythmic fragments, melodic and rhythmic hocket, while cross-rhythms and cross-textuality may additionally be involved.
Due to the incorporation of such “polychoral”-derived techniques (in addition to some derived from Medieval music), a striking extra dimension is added both to recordings and to live performances (where the aural “spatial” interest creates a quasi-theatrical effect). The harmonic language is largely built on the composer’s personalised modal foundations, frequently complemented by very subtle use of rhythm and ornament, which can sometimes involve quite elaborate – but always delicate – “filigree”-like patterns.
All but the Kyrie are world première recordings (including the first recording of the choral version of That Time of Year), and were recorded over five separate sessions in the UK and US.
Includes an additional historical and contextual essay by Renaissance and Baroque scholar, Hugh Keyte, leading expert on early polychoralism: "Polychorality: Some Observations".
(NOTE: Opus numbers in the composer’s œuvre are apportioned according to date of initial conception, rather than by date of completion.)
“WOEFULLY ARRAYED”:
Sacred and Secular Choral and Polychoral Works of JONATHAN DAVID LITTLE (b.1965)
INCLUDES WORLD PREMIÈRE RECORDINGS
Vox Futura, Boston (USA)
Directed by Andrew Shenton; Organ: Heinrich Christensen
‡Stanbery Singers, Cincinnati (USA)
Directed by Paul John Stanbery
†Thomas Tallis Society Choir, Greenwich (UK)
Directed by Philip Simms
SACRED WORKS:
1. “Woefully Arrayed”, Op.13 (Anthem for Triple Choir: AATTBB + SSA + SSA) [attrib. to John Skelton] (with Organ) (ca.26:00)
2. †Kyrie, Op.5 (SATB Double Choir with Soloists) (from Missa Temporis Perditi) (ca.4:50)
* * * ROYAL PHILHARMONIC SOCIETY / BBC RADIO 3 “ENCORE Choral” Award Winner * * *
3. Gloria, Op.18 (SATB Double Choir with Soloists) (from Missa Temporis Perditi) (ca.12:00)
SECULAR WORKS:
4. ‡“Wasted and Worn”, Op.6 (Part Song for SSAATTBB Choir with Soloists) [Lord de Tabley] (ca.12:10)
5. ‡“That Time of Year”, Op.2 (SATBarB Choir) [Shakespeare] (ca.4:45)
6. “Woefully Arrayed”, Op.13 [Reprise – abridged version] (ca.12:30)
PROJECT SUMMARY
This was the first new, large-scale polychoral music research, creation and recording project of modern times, undertaken over two-years with Australia Council sponsorship. Works produced involve intricate, multi-part, multi-divisi and unusual spatial (“split choir”) effects – reimagining ancient techniques in contemporary contexts, all captured via cutting-edge recording technology, and promulgated worldwide.
Composer/academic Jonathan David Little was researcher/co-ordinator for this ambitious AUS$100,000 project, which embraced three continents, involved several large choirs, music directors and their staff, an organist, multiple engineers, producers and assistants (300+ participants). It employed the latest audio technology to produce remarkable results – capturing how different sub-choirs and/or vocal soloists were placed in various arrangements around and above the audience. This revived techniques largely forgotten since such works reached their acoustical zenith in the early Baroque. Ancient techniques were re-invented, derived from those once so brilliantly employed to create extra depth for choral performance in large spaces, so realising "surround-sound"-like effects. In order to aid performers/listeners, diagrams showing the disposition of all the vocal forces involved are printed in the CD booklet.
This project was assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body (Individual International Arts Project Award 2015-17: UK-USA-Australia). Invaluable support was also provided by the Royal Philharmonic Society (UK), through its “ENCORE Choral” Award scheme.
The support and advice of music publishers Anne Keats, OAM, and Brennan Keats, OAM, Directors of Wirripang Pty Ltd (Australia), of staff at the University of Chichester (UK), of Professor Craig De Wilde of the University of Singapore, of music copyist David Turner (UK), of Bob Lord and all his team at PARMA Recordings (USA), and of James M. Kendrick (Director and Treasurer of ASCAP, USA), is gratefully acknowledged.
OPEN-ACCESS ONLINE CD BOOKLET (including contextual essay, spatial configuration diagrams, lyrics, pictures and notes):
http://www.navonarecords.com/catalog/nv6113/booklet---woefully-arrayed---jonathan-little.html
YOUTUBE WORK LINKS (with SCORES):
1. WOEFULLY ARRAYED: https://www.youtube.com/watch?v=wEiWj_qNcfs
2. KYRIE: https://www.youtube.com/watch?v=VIpvPYo0NAw
3. GLORIA: https://www.youtube.com/watch?v=FI2PvLggGGI
4. WASTED & WORN: https://www.youtube.com/watch?v=ah9T3omlRmc
5. THAT TIME OF YEAR: https://www.youtube.com/watch?v=s4KxrWy9Wpw
6. CRUCIFIXUS [abridged reprise of "Woefully Arrayed"]: https://www.youtube.com/watch?v=oyz9EH8xV8M
CD / HIGH RES / STREAMING LINKS:
https://www.prestomusic.com/classical/products/8338016--woefully-arrayed
https://www.prostudiomasters.com/album/page/14390
https://www.amazon.com/Jonathan-Little-Woefully-Various-artists/dp/B071WT642H
ALL YOUTUBE VIDEOS (with SCORES) - SEE:
https://www.youtube.com/user/Musicalia65/videos
LINK to PODCAST INTERVIEW on WCPE-FM (US) about "POLYCHORAL MUSIC" (7 mins.):
https://theclassicalstation.org/listen/conversations-2/conversations-with-composers/#Jonathan%20David%20Little
KEYWORDS: "Jonathan David Little", polychoral, polychoralism, polychorality, choral music, contemporary choral music, cori spezzati, spatial placement in music, acoustics of performing spaces, Kyrie, Gloria, Woefully Arrayed, Crucifixus, That Time of Year, Wasted and Worn, double choir, triple choir, Vox Futura, Andrew Shenton, Heinrich Christensen, Stanbery Singers, Paul John Stanbery, Thomas Tallis Society Choir, Philip Simms, PARMA, Australia Council
SEE FURTHER: https://www.academia.edu/38490945/Polychorality_Some_Observations_Article_Diagrams_and_Contemporary_Choral_Work_Descriptions_in_Woefully_Arrayed_Sacred_and_Secular_Choral_and_Polychoral_Works_of_Jonathan_David_Little._North_Hampton_NH_USA_PARMA_Recordings_NV6113_2017_2-27
AND: https://www.academia.edu/38453411/The_Profundity_of_Polychoralism_Exploring_the_work_of_Jonathan_David_Little_Composer_Interview_and_CD_review_
AND:
https://www.academia.edu/38574837/_Composing_Polychoral_Music_Resonate_Magazine_22_Oct._2018_ONLINE_BLOG_ARTICLE_
AND:
https://www.academia.edu/38583848/LITTLE_Woefully_Arrayed_Gramophone_Jan._2018_REVIEW_of_AUDIO_CD_
AND:
https://www.academia.edu/38584062/Jonathan_David_Little_Woefully_Arrayed_La_Scena_Musicale_Feb._Mar._2018_32._REVIEW_of_AUDIO_CD_
This two-year "International Polychoral Music Research, Creation and Recording Project" was one of three finalists in the “Distinctive Work” category for the 2018 Australia Prize for distinguished work in the Humanities, Arts and Social Sciences (HASS). (Sponsored by Routledge, the "Distinctive Work" Prize is for an exceptional artistic performance, exhibition, film, television show, play, composition or practical contribution to arts policy.)
THREE EXPLANATORY FILES ARE ATTACHED, INCLUDING THE CD BOOKLET AND PROJECT DESCRIPTION, BOTH WITH FULL DIAGRAMS.
Includes World Premiere Recordings.
* ALBUM OF THE MONTH (Feb 2012), Reviews New Age (SPAIN)
* Nominated for ALBUM OF THE YEAR, Reviews New Age (SPAIN)
OFFICIAL URL: http://www.navonarecords.com/catalog/nv5867/
SPOTIFY STREAMING: https://open.spotify.com/album/3JecPlvLIBhDWhGscCM47G
REVIEW in TEMPO (CUP, UK): https://www.jstor.org/stable/41482617?seq=1#page_scan_tab_contents
YOUTUBE WORK LINKS (with SCORES):
1. POLYHYMNIA (Multi-divisi string orchestra): https://youtu.be/xPMHd8EFMlg
2. TERPSICHORE (Showpiece for large orchestra): https://youtu.be/0flT7lJeR3U
3. FANFARE (for brass & percussion): https://youtu.be/tc9OMDw86GQ
4. SACRED PRELUDE (String quintet version): https://youtu.be/leallMTWFIA
5. KYRIE (SATB double choir & soloists): https://youtu.be/VIpvPYo0NAw
CD / STREAMING LINKS:
http://www.arkivmusic.com/classical/Namedrill?name_id=247356&name_role=4&rewr=1#details
https://www.classicalarchives.com/album/896931000673.html
https://www.australianmusiccentre.com.au/product/polyhymnia-string-orchestral-and-choral-works
https://www.amazon.co.uk/Polyhymnia-String-Orchestral-Choral-Jonathan/dp/B006O8K458
ALL YOUTUBE VIDEOS (with SCORES) - SEE:
https://www.youtube.com/user/Musicalia65/videos
REVIEW EXCERPTS:
* "Polyhymnia conjures up a heart-rending panorama: it is immensely poetic, almost otherworldly, and employs an exceptionally hypnotic array of musical colour." - Tempo (UK)
* "Beautiful, exciting, thrilling and remarkable in every sense ... Jonathan Little has rightly earned the recognition he is now receiving, and this album is a clear example of his talent." - Reviews New Age (SPAIN)
* "Little reflects on diverse influences ... but adds a richness of coloration, dynamic shading and melodic inventiveness all his own. Small wonder that this Australian composer has gained several awards on both sides of the Atlantic." - Classical Music Magazine (UK)
* " ... full of rich string orchestra harmonies and based on some beautiful melodic ideas. The texture is rich, and the effect is quite moving ..." - American Record Guide (USA)
* " ... on every piece on this disc, you can hear the influence of ancient music ... Yet, the final product sounds modern too, as Little adds his own personal elements to these sonic foundations: bursting through the panorama he paints with sudden flashes of light or menacing thunderbolts, and so projects the past into the future ..." - Kathodik (ITALY)
SEE ALSO (FEATURE INTERVIEW & REVIEW in FANFARE, USA): https://www.academia.edu/38484452/Jonathan_Little_and_the_Importance_of_Ecstasy_Fanfare_36_1_2012_58-72._Composer_Interview_and_CD_review_
AND:
https://www.academia.edu/38574912/Creating_and_Recording_Polyhymnia_Resonate_Magazine_22_Feb._2012_ONLINE_BLOG_ARTICLE_
KEYWORDS: "Jonathan David Little", Polyhymnia, Nine Muses, multi-divisi, Terpsichore, orchestral showpiece, Fanfare, Sacred Prelude, string quintet, Kyrie, double choir, polychoral, polychoralism, polychorality, choral music, contemporary music, cori spezzati, PARMA, Musicians' Benevolent Fund
Includes World Premiere Recordings.
Recording supported by the Kenneth Leighton Trust (UK), Foundation for New Music (USA) & ASCAP Plus Programme (USA).
Major Reviews in FANFARE MAGAZINE (May-June 2008 USA), and:
TEMPO (Jan 2008, Cambridge University Press, UK) - SEE: Wheatley, John, “Jonathan Little: Terpsichore and other Works” [CD Review], in Tempo (UK), Vol.62: No.243 (Jan. 2008), pp.88-89. ISSN 0040-2982; EISSN 1478-2286: https://www.jstor.org/stable/40072778?seq=1#page_scan_tab_contents
* RECORD OF THE YEAR in FANFARE MAGAZINE (Nov-Dec 2008).
SEE: http://myppk.com/Users/5816/PDFs/+++Fanfare_Magazine_-_Want_List_Dec_2008_-_J._Little.pdf
* TITLE SCORE awarded Second Prize, "MUSIKVEREIN NEW SYMPHONY VIENNA, INTERNATIONAL COMPOSER COMPETITION" (AUSTRIA), and: Special Distinction, ASCAP Rudolf Nissim Prize.
SELECTED REVIEW EXCERPTS:
• "[a] groundbreaking tour de force … incandescent … [unleashes] a positively dynamic musical palette, portraying the wild behaviour and dancing of Terpsichore in an astonishingly hypnotic range of musical sketches … moving the listener irrevocably onward to a brightly illuminated plain of poetic splendour, rhythm and ecstasy. Could this perhaps be a 21st-century version of Maurice Ravel's choreographic symphony, Daphnis et Chloe?" - Tempo (UK)
• "This is music that brings to mind so much else but at the same time isn't quite like anything you've heard before. … [a] whirling kaleidoscope of sounds … ending on something of the succulent grandeur of a Respighi tone poem. An extraordinary range of sensations. ... This is certainly novel stuff and I suspect time will prove it to be a good deal more than that." 4 STARS **** - Music OMH (UK)
• "Particularly here and in the next piece, Little's music sounds like no one else's. Not anyone's. ... Too much to say and too little space to say it; but why bother anyway? This is an aural experience, and to put it into words degrades the astonishing range of colors and moods he creates. … Trust me, once you're about halfway through the title work, you won't be able to take it off. … Mr. Little is quite a talent indeed." - Fanfare (USA)
YOUTUBE WORK LINKS (with SCORES):
1. KYRIE (SATB double choir & soloists): https://youtu.be/VIpvPYo0NAw
2. SACRED PRELUDE (String quintet version): https://youtu.be/leallMTWFIA
3. FANFARE (for brass & percussion): https://youtu.be/tc9OMDw86GQ
4. TERPSICHORE (Showpiece for large orchestra): https://youtu.be/0flT7lJeR3U
5. DUO SONATA on Elizabethan Themes, for percussion soloists
(i) Intrada: https://youtu.be/wS8MaALor7g
(ii) Toccata (Scherzo): https://youtu.be/cAO95-mmPiE
(iii) Interlude: https://youtu.be/4a1EOnwFg1g
(iv) Fantasia: https://youtu.be/mGsOhiLAK_k
6. THAT TIME OF YEAR (SATBarB Soloists): https://youtu.be/s4KxrWy9Wpw
CD LINKS:
https://www.allmusic.com/album/jonathan-little-terpsichore-and-other-works-mw0001403122
https://www.amazon.com/Terpsichore-Other-Jonathan-Little-Composer/dp/B0018O3MMA
EACH WORK DESCRIBED at the BRITISH MUSIC COLLECTION:
1. KYRIE: https://britishmusiccollection.org.uk/score/kyrie-op5
2. SACRED PRELUDE: https://britishmusiccollection.org.uk/score/sacred-prelude-op1-string-quintet-version
3. FANFARE: https://britishmusiccollection.org.uk/score/fanfare-op3a
4. TERPSICHORE: https://britishmusiccollection.org.uk/score/terpsichore-op7-whirler-or-muse-dance
5. DUO SONATA on Elizabethan Themes, for percussion soloists
(i) Intrada: https://britishmusiccollection.org.uk/score/i-intrada-duo-sonata-op4-elizabethan-themes-percussion-soloists
(ii) Toccata (Scherzo): https://britishmusiccollection.org.uk/score/ii-toccata-scherzo-duo-sonata-op4-elizabethan-themes-percussion-soloists
(iii) Interlude: https://britishmusiccollection.org.uk/score/iii-interlude-duo-sonata-op4-elizabethan-themes-percussion-soloists
(iv) Fantasia: https://britishmusiccollection.org.uk/score/iv-fantasia-duo-sonata-op4-elizabethan-themes-percussion-soloists
6. THAT TIME OF YEAR: https://britishmusiccollection.org.uk/score/time-year-op2-thou-mayst-me-behold
ALL YOUTUBE VIDEOS (with SCORES) - SEE:
https://www.youtube.com/user/Musicalia65/videos
KEYWORDS: "Jonathan David Little", Nine Muses, Terpsichore, orchestral showpiece, Fanfare, Want List 2008, Sacred Prelude, string quintet, Kyrie, double choir, polychoral, polychoralism, polychorality, choral music, contemporary music, cori spezzati, percussion, percussion duet, Elizabethan music
The Thomas Tallis Society presents "Thomas Tallis 500th Anniversary Celebration Concert (1505-2005)" [COMPACT DISC]. Performed at St. Alfege Church, Greenwich, London. Conducted by Philip Simms; organ: Stephen Dagg.
Live Recording at the [former] Royal Peculiar Church of St. Alfege, Greenwich - burial place of Thomas Tallis, "The Father of English Cathedral Music", and featuring four 40-part motets.
i. Kyrie, Op.5 ("Missa Temporis Perditi") - Jonathan Little (b.1965) in 21 parts (5:21) [WORLD PREMIERE RECORDING]
ii. Ecce Beatam Lucem - Alessandro Striggio, Sr (1535-1592) in 40 parts (8:33)
iii. Spem in Alium - Thomas Tallis (1505-1585) in 40 parts (10:47)
iv. And There Shall Be No Night There - Robert Hanson (b.1948) in 40 parts (14:01)
v. Deus, Deus Meus - Mervyn Cooke (b.1963) in 40 parts (14:01)
Total running time: 51:51
Recording Engineer: Adi Winman
Recording Producer: Adi Winman
Executive Producer: Jonathan Little
'VOICES OF EARTH AND AIR 2 presents the best that modern choral compositions have to offer. Settings of traditional prayers are mingled with ethereal stories and otherworldly visions, and each of the eight compositions both stand unique and work together harmoniously to create a collection that nods to the future of choral music. ...
Jonathan Little’s Crucifixus [is] another rich, vibrant work that presents modern interpretations of historic performance techniques and fills space with an all-encompassing listening experience.'
OFFICIAL URL: http://www.navonarecords.com/catalog/nv6221/
OFFICIAL RECORD COMPANY SAMPLER: https://www.youtube.com/watch?v=sg5YtOWfNpc
ON AMAZON: https://www.amazon.com/Voices-Earth-Air-Vol-2/dp/B07PHKPH8Q/ref=sr_1_1?keywords=896931005210&qid=1553879283&s=gateway&sr=8-1
'Crucifixus' is an Anthem for Triple Choir (in 12 parts) with organ accompaniment (Choir I: AATTBB + Choir II: SSA + Choir III: SSA). It is one of a set of ambitious, large-scale, contemporary "polychoral" works.
Little, Jonathan D., 'Crucifixus', Op.13a, in VOICES of EARTH and AIR, Vol.II: Works for Chorus [CD]. Performed by Vox Futura, directed by Dr. Andrew Shenton (Boston), with Heinrich Christensen, organ. North Hampton, NH, USA: PARMA Recordings, NV6221.
FULL WORK DESCRIPTION :
Written to commemorate the 50th Anniversary of the National Boys’ Choir of Australia (founded 1964), and dedicated to the memory of Harold Bird, OAM (1922-2015), the score is marked, “Slow and Spacious”, and “Maestoso (In Wonder)” – with the refrain becoming ever-more decorated on each return. Despite the subject matter, the mood of the refrain is more one of glory and awe, rather than mere dolefulness. The intimate verse, by contrast, is marked, “Teneramente e sostenuto” (“Tenderly and sustained”).
'Crucifixus' (Op.13a) is actually the most concise version of a much longer work, entitled "Woefully Arrayed" (Op.13), the latter of which contains three verses and four refrains, runs a full 26 minutes, and has something of an hypnotic, time-defeating quality about it. Abridged versions of Woefully Arrayed can be performed by commencing the work from either the Second or – as here – Third Refrain.
The nature of its text makes it most appropriate for the Lenten season, in the lead up to Eastertide, and supremely fitting for performance on Good Friday.
Lyrics attributed to John Skelton (ca.1463-1529): see attached booklet for details.
YOUTUBE WORK LINK (with SCORE): https://www.youtube.com/watch?v=oyz9EH8xV8M
ALL YOUTUBE VIDEOS (with SCORES) - SEE: https://www.youtube.com/user/Musicalia65/videos
SEE ALSO: https://www.academia.edu/38490945/Polychorality_Some_Observations_Article_Diagrams_and_Contemporary_Choral_Work_Descriptions_in_Woefully_Arrayed_Sacred_and_Secular_Choral_and_Polychoral_Works_of_Jonathan_David_Little._North_Hampton_NH_USA_PARMA_Recordings_NV6113_2017_2-27
AND: https://www.academia.edu/38453411/The_Profundity_of_Polychoralism_Exploring_the_work_of_Jonathan_David_Little_Composer_Interview_and_CD_review_
AND:
https://www.academia.edu/39702769/Crucifixus_Op.13a_for_Triple_Choir_and_Organ_Brass_Choir_WORLD_PREMIERE_LIVE_PERFORMANCE_2019_UK_._MUSICAL_COMPOSITION_
KEYWORDS: "Jonathan David Little", Woefully Arrayed, polychoral, polychoralism, polychorality, choral music, contemporary choral music, cori spezzati, spatial placement in music, acoustics of performing spaces, Crucifixus, triple choir, Vox Futura, Andrew Shenton, Heinrich Christensen, PARMA
1. The precocious Muse begins her wild, whirling dance
2. Entrancing Terpsichore dazzles all those who behold her
3. A most majestic and dramatic solo performer
4. The beguiling Muse slows and strikes a pose
5. Her frenzied dance resumes
6. The Muse displays her hypnotic, swaying gracefulness
7. She pauses one last time
8. Her recollection of past glories, and homage to the ancient circular dances
9. The capricious Terpsichore’s Finale!
(Sheet Music published by Wirripang)
Kyiv [Kiev] Philharmonic Orchestra
The frequently subdued dynamics and wide vocal range require a firm degree of control. The soprano line is particularly demanding, because of its high, but often very quiet notes. The middle section comprises a set group of phrases from which the singers are free to choose, but all are calculated to sound well together. During this middle section, the baritones and basses should ideally move to the front centre of the stage, while all others retreat backwards, and further out, to form a wide, distant arc – so producing a “ghostly” vocal effect. (At this point, adventurous and well-practised singers may wish to move around while performing, either randomly or in a set pattern, at the back of the stage.) All singers then come together again for the final section.
The choral version of That Time of Year was given a workshop performance by the BBC Singers at BBC Maida Vale Studios on 4th October 2016, led by Judith Weir, CBE, Master of the Queen’s Music, and conducted by James Morgan – under the auspices of the British Academy of Songwriters, Composers and Authors (BASCA).
2004; revised 2016
That time of year thou mayst in me behold
When yellow leaves, or none, or few, do hang
Upon those boughs which shake against the cold,
Bare ruined choirs, where late the sweet birds sang;
In me thou see’st the twilight of such day
As after sunset fadeth in the west.
Which by and by black night doth take away,
In me thou see’st the glowing of such fire
That on the ashes of its youth doth lie,
As the death-bed whereon it must expire,
Consumed with that which it was nourished by.
This thou perceiv’st, which makes thy love more strong,
To love that well which thou must leave ere long.
William Shakespeare (1564-1616)
(Sheet Music published by Wirripang)
ERM 6704 [CD] (UPC Code: 607221-670427): world première recording by Vox Moderne (Soloists of the Sofia National Opera) / Robert Ian Winstin; recorded at the National Radio Studios of Bulgaria, Sofia, Bulgaria (January, 2004). Editions de la Rue Margot (USA) Cat. No. ERM 6704. ISMN M-7200-4172-8 ASCAP Title Code: 501946176 Recording supported by the Foundation for New Music (USA)
Ideal duration is ca. 1'15" to 1'30"
(Sheet Music published by Wirripang)
ERM 6707 [CD] (UPC Code: 607221-670724): world première recording with the Kiev Philharmonic Orchestra / Robert Ian Winstin; recorded in the Philharmonic Hall of Ukraine, Kiev (September, 2004). Editions de la Rue Margot (USA) Cat. No. ERM 6707. ISMN M-7200-4171-1 ASCAP Title Code: 360982396 Recording supported by the Foundation for New Music (USA)
RECORDING assisted by the Kenneth Leighton Trust (UK)
(Sheet Music published by Wirripang)
World première recording with soloists of the Czech Philharmonic Orchestra / Robert Ian Winstin; recorded at the Czech Radio Studios (Studio 1), Prague (October, 2005). Editions de la Rue Margot (USA) Cat. No. ERM 6812. ISMN M-7200-6025-5 ASCAP Title Code: 492881219 Recording supported by the Foundation for New Music (USA)
1. The precocious Muse begins her wild, whirling dance
2. Entrancing Terpsichore dazzles all those who behold her
3. A most majestic and dramatic solo performer
4. The beguiling Muse slows and strikes a pose
5. Her frenzied dance resumes
6. The Muse displays her hypnotic, swaying gracefulness
7. She pauses one last time
8. Her recollection of past glories, and homage to the ancient circular dances
9. The capricious Terpsichore’s Finale!
RECORDING supported by the Foundation for New Music (USA).
SCORE reproduced with the aid of a grant from the Society for the Promotion of New Music's "Francis Chagrin Fund" (UK).
(Sheet Music published by Wirripang)
World première recording with the Kiev [Kyiv] Philharmonic Orchestra / Robert Ian Winstin; recorded in the Philharmonic Hall of Ukraine, Kiev (February, 2006). Editions de la Rue Margot (USA) Cat. No. ERM 6811. ISMN M-7200-7223-4 ASCAP Title Code: 502825438 Recording supported by the Kenneth Leighton Trust (UK) & Foundation for New Music (USA)
The frequently subdued dynamics and wide vocal range require a firm degree of control. The soprano line is particularly demanding, because of its high, but often very quiet notes. The middle section comprises a set group of phrases from which the singers are free to choose, but all are calculated to sound well together. During this middle section, the baritones and basses should ideally move to the front centre of the stage, while all others retreat backwards, and further out, to form a wide, distant arc – so producing a “ghostly” vocal effect. (At this point, adventurous and well-practised singers may wish to move around while performing, either randomly or in a set pattern, at the back of the stage.) All singers then come together again for the final section.
The choral version of That Time of Year was given a workshop performance by the BBC Singers at BBC Maida Vale Studios on 4th October 2016, led by Judith Weir, CBE, Master of the Queen’s Music, and conducted by James Morgan – under the auspices of the British Academy of Songwriters, Composers and Authors (BASCA).
2004; revised 2016
That time of year thou mayst in me behold
When yellow leaves, or none, or few, do hang
Upon those boughs which shake against the cold,
Bare ruined choirs, where late the sweet birds sang;
In me thou see’st the twilight of such day
As after sunset fadeth in the west.
Which by and by black night doth take away,
In me thou see’st the glowing of such fire
That on the ashes of its youth doth lie,
As the death-bed whereon it must expire,
Consumed with that which it was nourished by.
This thou perceiv’st, which makes thy love more strong,
To love that well which thou must leave ere long.
William Shakespeare (1564-1616)
SATB Choir 1: 2xS, 2xA, 2xT, 2xB (8) = min.2 voices per line for divisi (SSAATTBB)* (stage left side) +
SATB Choir 2: 2xS, 2xA, 2xT, 2xB (8) = min.2 voices per line for divisi (SSAATTBB)* (stage right side) +
Gallery/Offstage Soloists 1: 2xS (for divisi) + 1xA (3) (SSA) (at a distance or offstage, and set antiphonally to:)
Gallery/Offstage Soloists 2: 1xS + 1xA (2) (SA) (in a high and more distant gallery or offstage)
= 1. SSAATTBB + 2. SSAATTBB + 3. SSA + 4. SA; or minimum of 21 singers: 7 sopranos; 6 altos; 4 tenors, 4 basses
(* But ideally at least double these forces: 16 per choir, or 32 for the two choirs + 5 soloists = 37 singers)
This a cappella setting for SATB double choir and soloists of the first section of the traditional Latin Mass – “Kyrie eleison” – is based around permutations of one central motif. The eight main vocal lines are sometimes further divided for fullness of texture and motivic completeness. At least 21 voices are required to perform the work (choir: SSAATTBB, SSAATTBB + soloists: SSA, SA). The short central section of this ternary form composition (“Christe eleison”) features high C's in both treble parts, and requires extra soprano and alto soloists to be present offstage (or situated in a gallery), a little removed from the main body of the choir.
Kyrie was first sketched out in 1985 – and only completed, published, and recorded, two decades later. It was first performed in November 2005, during the historic Thomas Tallis 500th anniversary concerts held at Waltham Abbey, Essex (where Tallis worked) and St. Alfege, Greenwich (his burial place). It is appropriate, perhaps, that this work should first have been heard alongside such grand, 40-part polychoral motets as Tallis’s Spem in alium and Striggio’s Ecce beatam lucem.
Kyrie eleison.
Christe eleison.
Kyrie eleison.
AWARDS:
(1) TALLIS COMMEMORATION MEDAL 2005 (Bestowed by the Thomas Tallis Society Choir) (UK)
(2) ROYAL PHILHARMONIC SOCIETY / BBC RADIO 3 "ENCORE Choral" AWARD 2016-18 (UK)
(3) "BEST CLASSICAL MUSIC RECORDING" NOMINATION – ROUNDGLASS GLOBAL MUSIC AWARDS 2018 (USA-INDIA), as recorded on the album, "Woefully Arrayed" (Navona NV6113, 2017)
* Included on Terpsichore and Other Works: A Record of the Year in Fanfare magazine (USA) ("Want List 2008")
* Reissued on Polyhymnia: "Album des Mes en RNA (Febrero 2012)" (Album of the Month in Reviews New Age, February 2012); Nomination for 'Mejor Álbum RNA de Año' (Best Album of the Year) (Spain)
* Collard Fellowship of The Worshipful Company of Musicians 2011 (UK)
* PRS for Music Foundation / Bliss Trust Composer Bursary 2012 (UK)
MAJOR REVIEWS:
Fanfare (USA), Vol.36: No.1 (Sept-Oct 2012), pp.58-72 - Feature article (includes extensive interview with Martin Anderson, and reviews by Anderson, Canfield and Nockin), and Fanfare (USA), Vol.36: No.2 (Nov-Dec 2012)
Selected International Music Reviews:
“[emulates] the timeless qualities of early music ... In Kyrie, Opus 5, for 60-voice choir, he actually directs the extra soprano and alto soloists to play a crucial off-stage part – even ‘removed to a gallery’: perhaps a modern translation of Giovanni Gabrieli’s polyphonic exploitation of the rich internal architecture of St. Marks Basilica, Venice.” – John Wheatley, Tempo, Vol.62: No.243 (Jan. 2008), pp.88-89 (UK)
“An inspired creation …. voluptuous sonorities … beautifully expansive” – Patric Standford, Music and Vision (16th May, 2009) (UK)
“very well crafted ... very effective” - Stephen Layton, Choral Conductor and Director of Music, Trinity College, Cambridge (October 2009) (UK)
‘Yet even this beauty is surpassed by the piece that concludes the album – “Kyrie, Op.5 (from Missa Temporis Perditi)”. Sixty ethereal voices of the Royal Peculiar Church of St. Alfege in Greenwich, in the United Kingdom, blend to create one of the finest vocal groups that I have ever heard. Without a doubt, from when the music starts, until it ends, there are magnificent and uplifting passages; the voices produce the most amazing, spine-tingling effect. There is just no adequate way to describe this work.’ – Alejandro Clavijo, in Reviews New Age (February, 2012) (SPAIN)
‘The notes quote one unnamed commentator as stating that the music is “completely novel, yet hauntingly familiar.” This seems a fair assessment, in that no other composer among the thousands whose music I’ve heard immediately comes to mind … Perhaps Górecki in certain of his more tonal works comes closest, although Little’s music is about seven notches above the quality of that of the Polish composer … The disc’s closing work, the Kyrie from Little’s Missa Temporis perditi, is my favorite on the CD. Soaring lines in the sopranos, taking them up to high C, suggest the majesty of the words of the Kyrie. … Harmonies shift around a good bit, but the direction of the work is never in doubt as it moves to its dramatic conclusion. The spacious acoustic of the recording venue adds to the otherworldly effect.’ – David DeBoor Canfield, “Polyhymnia …”, in Fanfare, Vol.36, No.1 (Sept/Oct 2012) (USA)
“The highlight of this disc is the Kyrie from his Missa Temporis Perditi … It is an eloquent and expansive work sung here by the Thomas Tallis Chamber Choir, a large a cappella group from which conductor Philip Simms draws opulent sonorities. Little composes with a great array of technical skills and his works are both harmonically and contrapuntally pleasing. He knows how to bring out all the colors of the choral palette, and that is what makes the Kyrie such a fascinating piece. I want to hear the rest of the Mass.” – Maria Nockin, “Polyhymnia …”, in Fanfare, Vol.36, No.1 (Sept/Oct 2012) (USA)
(The eight main vocal lines are sometimes further divided for fullness of texture and motivic completeness.)
SATB Choir 1: 2xS, 2xA, 2xT, 2xB (8) = min.2 voices per line for divisi (SSAATTBB)* (stage left side) +
SATB Choir 2: 2xS, 2xA, 2xT, 2xB (8) = min.2 voices per line for divisi (SSAATTBB)* (stage right side) +
Gallery/Distant Soloists 1: 1xS + 1xA (2) (SA) (at a distance or in a gallery, and set antiphonally to:)
Gallery/Distant Soloists 2: 1xS + 1xA (2) (SA) (at a distance or in a gallery)
= 1. SSAATTBB + 2. SSAATTBB + 3. SA + 4. SA; or a minimum of 20 singers (24 if solo parts doubled): 6 (or 8) sopranos; 6 (or 8) altos; 4 tenors, 4 basses
(* But ideally at least double these forces: 16 per choir, or 32 for the two choirs + 4 soloists [the parts of which may be doubled to 8 singers] = 40 singers).
ABOUT THE MUSIC
This Gloria is a companion piece to Kyrie, Op.5 – both of which are part of a large-scale mass setting.
REVIEWS
'magnificently handled … radiant' – Colin Clarke, “Little, Woefully Arrayed …”, in Fanfare, Vol.41, No.2 (Nov./Dec. 2017) (USA)
'meticulous detail … complex and beautiful sound' – Dr. Andrew Shenton, BMus(Lond), MM(Yale), AM and PhD(Harvard), FRCO (ChM), LRAM, ARCM, DipRCM, Associate Professor of Music & James R. Houghton Scholar of Sacred Music, Boston University; Conductor and Director of the Boston Choral Ensemble (21st November, 2016) (USA)
'fantastically beautiful' – Daniel Coombs, “Jonathan David LITTLE: Sacred and Secular Choral & Polychoral Works”, in Audiophile Audition, August 1st, 2017 (USA)
'sonically impressive' – Infodad (6th July, 2017) (USA)
ALBUM AWARDS:
- WINNER (UK): "ENCORE CHORAL" AWARD: BBC Radio 3 / Royal Philharmonic Society
- RUNNER-UP (AUSTRALIA): "CHASS AUSTRALIA PRIZE for DISTINCTIVE WORK" 2018: Council for the Humanities, Arts and Social Sciences (29th October 2018, Storey Hall, Melbourne)
- NOMINATION (USA): "BEST CLASSICAL MUSIC RECORDING": RoundGlass Global Music Awards 2018 (26th January 2018, Edison Ballroom, New York)
TEXT
Gloria in excelsis Deo.
Et in terra pax
hominibus bonæ voluntatis.
Laudamus te; benedicimus te;
adoramus te; glorificamus te.
Gratias agimus tibi
propter magnam gloriam tuam.
Domine Deus, Rex coelestis,
Deus Pater omnipotens.
Domine Fili unigenite Jesu Christe.
Domine Deus, Agnus Dei,
Filius Patris.
Qui tollis peccata mundi,
miserere nobis.
Qui tollis peccata mundi,
suscipe deprecationem nostram.
Qui sedes ad dextram Patris,
O miserere nobis.
Quoniam tu solus Sanctus,
tu solus Dominus,
tu solus Altissimus, Jesu Christe.
Cum Sancto Spiritu
in gloria Dei Patris.
Amen
(DURATION: ca.10 to 11+ minutes)
IN MEMORY OF JOHN WILLIAM GODWARD
“Along the cool sequester'd vale of life
They kept the noiseless tenour of their way.”
Lyrics by:
John Leicester Warren, Lord De Tabley (1835-1895)
From:
“A Parting”
Wasted and worn that passion must expire,
Which swept at sunrise like a sudden fire
Across the whitened crest of happy waves.
Now lonely in a labyrinth of graves,
His footsteps foiled, his spirit bound and numb,
Gray Love sits dumb.
ISMN 979 0 720249 94 0
Available from:
https://www.australiancomposers.com.au/collections/composers-and-authors/products/wasted-and-worn-op-6
YouTube scrolling score:
https://youtu.be/ah9T3omlRmc
AATTBB Choir [Choir 1] (minimum 2 voices per line) (stage middle front) +
SSA Soloists [or Choir 2, if doubling parts]* (stage left back, or left gallery) +
SSA Soloists [or Choir 3, if doubling parts]* (stage left right, or right gallery)
= 1. AAAATTTTBBBB + 2. SSA + 3. SSA; or minimum of 18 singers: 4 sopranos; 6 altos; 4 tenors, 4 basses
(* If treating 2 & 3 as Choirs rather than Soloists, min.6 per choir = 2. SSSSAA + 3. SSSSAA: thus 24 overall – being effectively a 12-part ‘Triple Choir’)
ABOUT THE MUSIC
he score is marked, “Slow and Spacious”, and “Maestoso (In Wonder)” – with the refrain becoming ever-more decorated on each return. Despite the subject matter, the mood of the refrain is more one of glory and awe, rather than mere dolefuleness. The intimate verses, by contrast, are marked, “Teneramente” (“Tenderly”). Abridged versions of Woefully Arrayed can be performed by commencing the work from either the Second or Third Refrains. This allows for performances of approximately 26 minutes (in full), 19 minutes (from the Second Refrain), or 12 minutes 30 seconds (from the Third Refrain).
LYRICS:
(From excerpts of text attributed to John Skelton)
FIRST REFRAIN
Wofully araide,
My blode, man,
For thee ran,
It may not be naide;
My body blo and wanne,
Wofully araide.
VERSE ONE
Beholde me, I pray thee, with all thine whole reson,
And be not hard-herted for this encheson,
That I for thy saule sake was slaine in good seson,
Begylde and betraide by Judas fals treson;
Unkyndly entretid,
With sharpe corde sore fretid,
The Jewis me thretid,
They mowid, they grynned, they scornyd me,
Condempnyd to deth, as thou maist se,
Wofully araide.
SECOND REFRAIN
Wofully araide,
My blode, man,
For thee ran,
It may not be naide;
My body blo and wanne,
Wofully araide.
VERSE TWO
Thus nakyd am I nailid, O man, for thy sake!
I love thee, then love me; why slepist thou? awake!
Remembir my tendir hart rote for thee brake,
With panys my vaynys constreyned to crake;
Thus toggid to and fro,
Thus wrappid all in woo,
Whereas neuer man was so,
Entretid thus in most cruell wyse,
Was like a lombe offerd in sacrifice,
Wofully araide.
THIRD REFRAIN
Wofully araide,
My blode, man,
For thee ran,
It may not be naide;
My body blo and wanne,
Wofully araide.
VERSE THREE
Of sharpe thorne I haue worne a crowne on my hede,
So paynyd, so straynyd, so rufull, so red;
Thus bobbid, thus robbid, thus for thy loue ded,
Onfaynyd, not deynyd my blod for to shed;
My fete and handes sore
The sturdy nailis bore;
What might I suffir more
Than I haue don, O man, for thee?
Cum when thou list, wellcum to me,
Wofully araide.
FINAL (expanded) REFRAIN
Wofully araide,
My blode, man,
For thee ran,
It may not be naide;
My body blo and wanne,
Wofully araide.
Attributed to John Skelton (ca.1463-1529)
On CD at NAXOS DIRECT: https://naxosdirect.com/items/woefully-arrayed-410725
Available on Navona NV6113:
See: http://navonarecords.com/catalog/nv6113/index.html
And ONLINE OPEN-ACCESS CD BOOKLET:
https://www.navonarecords.com/legacy-catalog/nv6113/booklet---woefully-arrayed---jonathan-little.html
POLYCHORAL PROJECT REVIEWS 2017-18:
http://myppk.com/Users/5816/PDFs/d11c6713-36fe.pdf
ALBUM AWARDS:
- WINNER (UK): "ENCORE CHORAL" AWARD: BBC Radio 3 / Royal Philharmonic Society
- RUNNER-UP (AUSTRALIA): "CHASS AUSTRALIA PRIZE for DISTINCTIVE WORK" 2018: Council for the Humanities, Arts and Social Sciences (29th October 2018, Storey Hall, Melbourne)
- NOMINATION (USA): "BEST CLASSICAL MUSIC RECORDING": RoundGlass Global Music Awards 2018 (26th January 2018, Edison Ballroom, New York)
ISMN 979 0 67314 002 8
Available from:
https://www.australiancomposers.com.au/collections/composers-and-authors/products/woefully-arrayed-op-13
YouTube scrolling score:
https://youtu.be/wEiWj_qNcfs
N.B.: "Crucifixus, Op.13a", is an abridged version of the composer's "Woefully Arrayed", Op.13" - commencing from the Third Refrain. (The full version, which contains three verses, runs approximately 26 minutes.)
AATTBB Choir [Choir 1] (minimum 2 voices per line) (stage middle front) +
SSA Soloists [or Choir 2, if doubling parts]* (stage left back, or left gallery) +
SSA Soloists [or Choir 3, if doubling parts]* (stage left right, or right gallery)
= 1. AAAATTTTBBBB + 2. SSA + 3. SSA; or minimum of 18 singers: 4 sopranos; 6 altos; 4 tenors, 4 basses
(* If treating 2 & 3 as Choirs rather than Soloists, min.6 per choir = 2. SSSSAA + 3. SSSSAA: thus 24 overall – being effectively a 12-part ‘Triple Choir’)
ABOUT THE MUSIC
The score is marked, “Slow and Spacious”, and “Maestoso (In Wonder)” – with the refrain becoming ever-more decorated on each return. Despite the subject matter, the mood of the refrain is more one of glory and awe, rather than mere dolefuleness. The intimate verses, by contrast, are marked, “Teneramente” (“Tenderly”).
LYRICS:
(From excerpts of text attributed to John Skelton)
REFRAIN
Wofully araide,
My blode, man,
For thee ran,
It may not be naide;
My body blo and wanne,
Wofully araide.
VERSE
Of sharpe thorne I haue worne a crowne on my hede,
So paynyd, so straynyd, so rufull, so red;
Thus bobbid, thus robbid, thus for thy loue ded,
Onfaynyd, not deynyd my blod for to shed;
My fete and handes sore
The sturdy nailis bore;
What might I suffir more
Than I haue don, O man, for thee?
Cum when thou list, wellcum to me,
Wofully araide.
On CD at NAXOS DIRECT: https://naxosdirect.com/items/woefully-arrayed-410725
Available on Navona NV6113:
See: http://navonarecords.com/catalog/nv6113/index.html
And ONLINE OPEN-ACCESS CD BOOKLET:
https://www.navonarecords.com/legacy-catalog/nv6113/booklet---woefully-arrayed---jonathan-little.html
POLYCHORAL PROJECT REVIEWS 2017-18:
http://myppk.com/Users/5816/PDFs/d11c6713-36fe.pdf
ALBUM AWARDS:
- WINNER (UK): "ENCORE CHORAL" AWARD: BBC Radio 3 / Royal Philharmonic Society
- RUNNER-UP (AUSTRALIA): "CHASS AUSTRALIA PRIZE for DISTINCTIVE WORK" 2018: Council for the Humanities, Arts and Social Sciences (29th October 2018, Storey Hall, Melbourne)
- NOMINATION (USA): "BEST CLASSICAL MUSIC RECORDING": RoundGlass Global Music Awards 2018 (26th January 2018, Edison Ballroom, New York)
ISMN 979 0 720249 99 5
Available from:
https://www.australiancomposers.com.au/collections/composers-and-authors/products/crucifxus-op-16
YouTube scrolling score:
https://youtu.be/ah9T3omlRmc
ISMN 979 0 720249 91 9
Available from:
https://www.australiancomposers.com.au/collections/composers-and-authors/products/missa-brevis-op-23
YouTube scrolling score:
KYRIE:
https://youtu.be/VIpvPYo0NAw
GLORIA:
https://youtu.be/FI2PvLggGGI
This work is visually as well as aurally dramatic in performance as the players move around the drums, and sticks cross over. There is also some use of cross-rhythm.
The four movements are:
Intrada
Toccata (Scherzo)
Interlude
Fantasia
AWARDS:
* A Record of the Year in Fanfare magazine (USA) ("Want List 2008")
MAJOR REVIEWS:
Fanfare (USA), Vol.31: No.5 (May–June 2008), pp.179-180, and "The Want List 2008", in Fanfare (USA), Vol. 32: No.2 (Nov-Dec 2008), p.77.
Tempo (UK), Vol.62: No.243 (Jan. 2008), pp.88-89.
Bailey, Lynn Rene, ‘Little, Jonathan: Terpsichore and Other Works’ [CD Review] in “Fanfare” (USA), Vol.31: No.5 (May-June 2008), pp.179-180. ISSN 0148-9364 – “Duo Sonata on Elizabethan themes ... pushes its players to the max, from chimes, glockenspiel, vibes, marimba, and xylophone to crotales, timpani, a whip, plus various drums, cymbals, and tom-toms. Melodic snippets by Dowland, Campion, William Corkine, Alfonso Ferrabosco, and Robert Jones are thus rescored ... Yet there is astonishing delicacy and melodic continuity in its four movements, each a self-contained unit that could be performed separately.”
Wheatley, John, ‘Jonathan Little: Polyhymnia’ [CD Review], in “Tempo” (UK), Vol.62: No.243 (Jan. 2008), pp.88-89. – “a four-movement sonata, interpreting the melodic and rhythmic material – at times dances – of Elizabethan England with a bell-like array of modern percussion. Vibraphone, marimba, glockenspiels, xylophone and crotales combine with percussion to produce a decidedly strange atmosphere when merged with the gleaming, superbly defined, 16th-century backdrop.”
Ideal duration is ca. 1'15" to 1'30"
AWARDS:
* A Record of the Year in Fanfare magazine (USA) ("Want List 2008")
MAJOR REVIEWS:
Fanfare (USA), Vol.31: No.5 (May–June 2008), pp.179-180, and "The Want List 2008", in Fanfare (USA), Vol. 32: No.2 (Nov-Dec 2008), p.77.
Tempo (UK), Vol.62: No.243 (Jan. 2008), pp.88-89.
Selected International Music Reviews
Bailey, Lynn Rene, ‘Little, Jonathan: Terpsichore and Other Works’ [CD Review] in “Fanfare” (USA), Vol.31: No.5 (May-June 2008), pp.179-180. ISSN 0148-9364 – “music of tremendous power, yet music that is not reliant on cheap pounding-and-blaring effects”
Bailey, Lynn Rene, ‘The Want List 2008’, in “Fanfare” (USA), Vol.32: No.2 (Nov-Dec 2008), p.77 – “a major new, original and quite brilliant classical voice”.
The sound is reminiscent of that of ancient church music. Written in the stile antico, it opens with a “Plainsong”, then comes the main central “Anthem”. There is a brief reprise of the opening theme, before the work closes with a more emphatic “Fantasia” (where the sense of rubato becomes almost improvisatory). The work, as a whole, may be said to comprise a poignant “prayer” for strings.
WORLD PREMIERE
3pm, 17th March 2019, in the historic Christ and St. Stephen's Church, Manhattan, New York City (120 West 69th Street, NY 10023 - between Broadway and Columbus).
North/South Chamber Orchestra, conducted by Max Lifchitz ("bringing the best in contemporary music to New York City audiences for almost 4 decades").
REVIEWS [of the original string quintet version]:
* "a beautiful serenade" - American Record Guide (USA), May-June 2012
* "yearningly lovely" - Music OMH (UK), November 2008
* "intensely ethereal" - Tempo (UK), January 2008
* "a work of beauty and sincerity" - conductor Robert Ian Winstin (USA), recording with string soloists of the Czech Philharmonic Orchestra in 2006
1. The precocious Muse begins her wild, whirling dance
2. Entrancing Terpsichore dazzles all those who behold her
3. A most majestic and dramatic solo performer
4. The beguiling Muse slows and strikes a pose
5. Her frenzied dance resumes
6. The Muse displays her hypnotic, swaying gracefulness
7. She pauses one last time
8. Her recollection of past glories, and homage to the ancient circular dances
9. The capricious Terpsichore’s Finale!
RECORDING supported by the Foundation for New Music (USA) (performed by the Kiev [Kyiv] Philharmonic Orchestra)
SCORE reproduced with the aid of a grant from the Society for the Promotion of New Music's "Francis Chagrin Fund" (UK).
AWARDS:
* A Record of the Year in Fanfare magazine (USA) ("Want List 2008")
* "Album of the Month" (February 2012), and Nominated (when re-released on Polyhymnia) for "Best Album of the Year" in Reviews New Age (SPAIN).
* ASCAP "Rudolf Nissim Prize" 2017: Special Distinction (USA) ["Best Original Score"]
* MUSIKVEREIN NEW SYMPHONY VIENNA "First International Composers Competition" 2020: Second Prize Medal (94/100) in the Orchestral category (AUSTRIA)
MAJOR REVIEWS:
Fanfare (USA), Vol.31: No.5 (May–June 2008), pp.179-180, and "The Want List 2008", in Fanfare (USA), Vol. 32: No.2 (Nov-Dec 2008), p.77.
Tempo (UK), Vol.62: No.243 (Jan. 2008), pp.88-89.
SELECTED INTERNATIONAL REVIEWS:
Bailey, Lynn Rene, ‘Little, Jonathan: Terpsichore and Other Works’ [CD Review] in “Fanfare” (USA), Vol.31: No.5 (May-June 2008), pp.179-180. ISSN 0148-9364 – “Particularly here and in the next piece, Little’s music sounds like no one else’s. Not anyone’s. He contrasts large and small forces, rhythmic and melodic fragments, in a manner consistently contrary to both academic formula and 'expected' musical patterns. What sounds like the start of a development, for instance, rapidly fragments into shards of sound that float into space. What sounds incoherent and disconnected coalesces into a development section. Too much to say and too little space to say it; but why bother anyway? This is an aural experience, and to put it into words degrades the astonishing range of colors and moods he creates.”
Bailey, Lynn Rene, ‘The Want List 2008’, in “Fanfare” (USA), Vol.32: No.2 (Nov-Dec 2008), p.77 – “a major new, original and quite brilliant classical voice”.
Clavijo, Alejandro, ‘Jonathan Little: Polyhymnia’ [CD Review], in “Reviews New Age” (Spain) (February, 2012) [5/5 STARS: ALBUM OF THE MONTH; NOMINATED FOR BEST ALBUM OF THE YEAR] – “From the same suite that opened the album, The Nine Muses, next comes “Terpsichore: ‘The Whirler’ or Muse of Dance, Op. 7” – one of the masterpieces of Polyhymnia, recorded with the Kiev Philharmonic Orchestra. The strings play incredible counterpoints against a tremendous battery of percussion. The beauty of this piece resides in the ease with which it slides in and out of different moods, in short fragments, sometimes fast, sometimes tense, sometimes sweet and tender – to convey an overall dynamic splendour!”
Focosi, Filippo, ‘Jonathan Little “Polyhymnia” ’ [CD Review], in “Kathodik” (16th April, 2012) (Italy) – “bursting through the panorama he paints with sudden flashes of light or menacing thunderbolts, and so projects the past into the future.”
Wheatley, John, ‘Jonathan Little: Terpsichore and other Works’ [CD Review], in “Tempo” (UK), Vol.62: No.243 (Jan. 2008), pp.88-89 – “All this innovative music leads us inevitably to Jonathan Little’s ground-breaking tour de force – Terpsichore: ‘The Whirler’ or Muse of Dance – an incandescent Dance Poem for large orchestra, being the first of a series of symphonic portraits of the muses, the nine daughters of Zeus and Mnemosyne. Here, he has without doubt unleashed a positively dynamic musical palette, powerfully portraying the wild behaviour and dancing of Terpsichore in an astonishingly hypnotic range of musical sketches, where almost Messiaen-like bird-song and swaying elegance is contrasted against some incessantly energetic rhythmic frenzy and orchestral invention, moving the listener irrevocably onward to a brightly illuminated plain of poetic splendour, rhythm and ecstasy. Could this perhaps be a 21st-century version of Maurice Ravel’s choreographic symphony, Daphnis et Chloe?”
RECORDING supported by an inaugural Musicians' Benevolent Fund Professional Development Award (MBF 90th anniversary, 2011) through the Willis and Grace Grant Charitable Trust (UK); and the University of Chichester through both Arts Research Fund and Research Incentive Fund Awards (UK).
AWARDS:
* Collard Fellowship of The Worshipful Company of Musicians 2011 (UK)
* PRS for Music Foundation / Bliss Trust Composer Bursary 2012 (UK)
* "Album des Mes en RNA (Febrero 2012)" (Album of the Month in Reviews New Age, February 2012); Nomination for 'Mejor Álbum RNA de Año' (Best Album of the Year) (Spain)
MAJOR REVIEWS:
Fanfare (USA), Vol.36: No.1 (Sept-Oct 2012), pp.58-72 - Feature article (includes extensive interview with Martin Anderson, and reviews by Anderson, Canfield and Nockin), and Fanfare (USA), Vol.36: No.2 (Nov-Dec 2012)
SELECTED INTERNATIONAL REVIEWS:
Byelick, Ira, ‘LITTLE: Polyhymnia …’ [CD Review], in “American Record Guide” (May/June 2012), pp.244-5 (USA) – “full of rich string orchestra harmonies and based on some beautiful melodic ideas. The texture is rich, and the effect is quite moving …”
Clavijo, Alejandro, ‘Jonathan Little: Polyhymnia’ [CD Review], in “Reviews New Age” (SPAIN) (February, 2012) [5/5 STARS: ALBUM OF THE MONTH; NOMINATED FOR BEST ALBUM OF THE YEAR] – “Gorgeous, exciting, chilling and surprising … an elegant gift to the ears. There are no words to describe this work … superlative … spine-tingling … the complexity, the beauty, the elegance, the intensity … so otherworldly … indescribable”
Estren, Dr. Mark, ‘Modern but Accessible’ [CD Review], in “Infodad” (1st March, 2012) (USA) – “as warm and fervent as religious poetry … a sonic tour de force. Little is an expert orchestrator … clearly comfortable writing in multiple forms for many different instrumental and vocal combinations.”
Focosi, Filippo, ‘Jonathan Little “Polyhymnia” ’ [CD Review], in “Kathodik” (16th April, 2012) (ITALY) – “bursting through the panorama he paints with sudden flashes of light or menacing thunderbolts, and so projects the past into the future.”
Nockin, Maria, ‘Little: Polyhymnia …’ [CD Review] in “Fanfare” (USA), Vol.36: No.1 (Sept-Oct 2012). – “melodic figures coalesce into an enormous tapestry of musical color … eloquent and expansive … opulent sonorities. Little composes with a great array of technical skills and his works are both harmonically and contrapuntally pleasing.”
Wheatley, John, ‘Jonathan Little: Polyhymnia’ [CD Review], in “Tempo” (UK), Vol.67: No.259 (Jan. 2012) – “immensely poetic, almost otherworldly”.
Lamberti, Carlo, “Spazio della Musica” (6th July, 2015) [Special Birthday Tribute] (ITALY) – “... he deserves, in my opinion, to be counted among the "greats" of our century for the refinement of his musical texture. When a composer today pens such sweetness on a musical staff, we cannot help but be moved to true joy, because these are living moments of ecstatic beauty.”
"Jonathan David Little is one of three finalists in the 'Distinctive Work' category for the 2018 CHASS Australia Prize - highlighting exceptional achievement by Australians in humanities, arts and social sciences - for his two-year project involving research, composition and recording of polychoral works. The related CD release, Woefully Arrayed (Navona) has received positive reviews and multiple international awards. A review in America's Audiophile Audition (August 2017) stated, 'Little achieves unique and beautiful effects through spacing and arrangement of vocal groups ... Little's techniques are well grounded in both very careful construction of harmonies and voicing as well as in acoustics and the physics of sound.' In this blog article, Little summarises the reception to the Woefully Arrayed album and explains some of the background to his work, as well as its future direction."
Little, Jonathan D., "Composing 'Polychoral' Music", Resonate Magazine (Sydney: Australian Music Centre, 22 Oct. 2018) [ONLINE BLOG ARTICLE]
ARTICLE IN PDF FORM here reproduced by kind permission of Anni Heino, Editor of the Australian Music Centre's 'Resonate' Magazine (captured as at 18.03.2019).
FULL ARTICLE ALSO AVAILABLE ONLINE: https://www.australianmusiccentre.com.au/article/composing-polychoral-music
OPEN-ACCESS ONLINE CD BOOKLET (including contextual essay, spatial configuration diagrams, lyrics, pictures and notes):
http://www.navonarecords.com/catalog/nv6113/booklet---woefully-arrayed---jonathan-little.html
ALBUM DETAILS:
Little, Jonathan D., WOEFULLY ARRAYED: SACRED AND SECULAR CHORAL AND POLYCHORAL WORKS OF JONATHAN DAVID LITTLE [Woefully Arrayed; Kyrie, Gloria; Wasted and Worn; That Time of Year; Woefully Arrayed (Reprise)] [CD]: Vox Futura, directed by Dr. Andrew Shenton (Boston) - with Heinrich Christensen, organ; Stanbery Singers, directed by Paul John Stanbery (Cincinnati); Thomas Tallis Society Choir, directed by Philip Simms (London) (Release date: 14th July 2017) Navona (a fine music label of PARMA Recordings), USA. Cat. No. NV6113. Recording supported by the Australian Government via the Australia Council, and by the Royal Philharmonic Society (UK).
* ROYAL PHILHARMONIC SOCIETY “ENCORE CHORAL” AWARD WINNER (UK);
* ROUNDGLASS “BEST CLASSICAL RECORDING” NOMINATION (USA-INDIA);
* “AUSTRALIA PRIZE" (for DISTINCTIVE WORK) FINALIST 2018.
OFFICIAL URL: http://navonarecords.com/catalog/nv6113/index.html
YOUTUBE WORK LINKS (with SCORES):
1. WOEFULLY ARRAYED: https://www.youtube.com/watch?v=wEiWj_qNcfs
2. KYRIE: https://www.youtube.com/watch?v=VIpvPYo0NAw
3. GLORIA: https://www.youtube.com/watch?v=FI2PvLggGGI
4. WASTED & WORN: https://www.youtube.com/watch?v=ah9T3omlRmc
5. THAT TIME OF YEAR: https://www.youtube.com/watch?v=s4KxrWy9Wpw
6. CRUCIFIXUS [abridged reprise of "Woefully Arrayed"]: https://www.youtube.com/watch?v=oyz9EH8xV8M
CD / HIGH RES / STREAMING LINKS:
https://www.prestomusic.com/classical/products/8338016--woefully-arrayed
https://www.prostudiomasters.com/album/page/14390
https://www.amazon.com/Jonathan-Little-Woefully-Various-artists/dp/B071WT642H
ALL YOUTUBE VIDEOS (with SCORES) - SEE:
https://www.youtube.com/user/Musicalia65/videos
This two-year "International Polychoral Music Research, Creation and Recording Project" was one of three finalists in the “Distinctive Work” category for the 2018 Australia Prize for distinguished work in the Humanities, Arts and Social Sciences (HASS). (Sponsored by Routledge, the "Distinctive Work" Prize is for an exceptional artistic performance, exhibition, film, television show, play, composition or practical contribution to arts policy.)
“The lost potential of the acoustics of performing spaces begins to be rediscovered in these works.”
LINK to PODCAST INTERVIEW on WCPE-FM (US) about "POLYCHORAL MUSIC" (7 mins.):
https://theclassicalstation.org/listen/conversations-2/conversations-with-composers/#Jonathan%20David%20Little
SEE FURTHER:
https://www.academia.edu/38490945/Polychorality_Some_Observations_Article_Diagrams_and_Contemporary_Choral_Work_Descriptions_in_Woefully_Arrayed_Sacred_and_Secular_Choral_and_Polychoral_Works_of_Jonathan_David_Little._North_Hampton_NH_USA_PARMA_Recordings_NV6113_2017_2-27
AND:
https://www.academia.edu/38453411/The_Profundity_of_Polychoralism_Exploring_the_work_of_Jonathan_David_Little_Fanfare_41_2_2017_121-131._Composer_Interview_and_CD_review_
AND:
https://www.academia.edu/38505604/WOEFULLY_ARRAYED_Sacred_and_Secular_Choral_and_Polychoral_Works_of_Jonathan_David_Little._North_Hampton_NH_USA_PARMA_Recordings_NV6113_2017_._AUDIO_CD_
AND:
https://www.academia.edu/38583848/LITTLE_Woefully_Arrayed_Gramophone_Jan._2018_REVIEW_of_AUDIO_CD_
AND:
https://www.academia.edu/38584062/Jonathan_David_Little_Woefully_Arrayed_La_Scena_Musicale_Feb._Mar._2018_32._REVIEW_of_AUDIO_CD_
KEYWORDS: "Jonathan David Little", polychoral, polychoralism, polychorality, choral music, contemporary choral music, cori spezzati, spatial placement in music, acoustics of performing spaces, Kyrie, Gloria, Woefully Arrayed, Crucifixus, That Time of Year, Wasted and Worn, double choir, triple choir, Vox Futura, Andrew Shenton, Heinrich Christensen, Stanbery Singers, Paul John Stanbery, Thomas Tallis Society Choir, Philip Simms, PARMA, Australia Council
"Melbourne-born, now UK-based composer Jonathan Little talks about his new album Polyhymnia, of which the British music journal Tempo recently wrote: 'Polyhymnia conjures up a heart-rending panorama: it is immensely poetic, almost otherworldly, and employs an exceptionally hypnotic array of musical colour'.
In December 2011 Little became the first Australian-born composer to be elected the John Clementi Collard Fellow in Music - this prestigious fellowship is awarded approximately every three years to one of Britain's leading performers, composers, conductors or scholars. Little is also the first composer to receive a professional development award from the British music business's own charity, the Musicians Benevolent Fund. His music, often written for large-scale choral, string and orchestral forces, is now attracting increasing international recognition."
Little, Jonathan D., 'Creating and Recording Polyhymnia', Resonate Magazine (Sydney: Australian Music Centre, 22 Feb. 2012) [ONLINE BLOG ARTICLE]
ARTICLE IN PDF FORM here reproduced by kind permission of Anni Heino, Editor of the Australian Music Centre's 'Resonate' Magazine (captured as at 18.03.2019).
FULL ARTICLE ALSO AVAILABLE ONLINE: https://www.australianmusiccentre.com.au/article/creating-and-recording-em-polyhymnia-em
ALBUM DETAILS:
Little, Jonathan D., POLYHYMNIA: STRING, ORCHESTRAL AND CHORAL WORKS OF JONATHAN LITTLE ["Polyhymnia", Op.10 - from The Nine Muses (No.6 of 9); "Terpsichore", Op.7 - from The Nine Muses (No.7 of 9); "Fanfare", Op.3a; “Sacred Prelude", Op.1; "Kyrie", Op.5] [CD]: Moravian, Kiev and Czech Philharmonic Orchestras & Tallis Chamber Choir / Petr Vronský, Robert Ian Winstin & Philip Simms (Release date: 28th Feb. 2012) Navona (a fine music label of PARMA Recordings), USA. Cat. No. NV5867; UPC: 896931-000673. Recording supported by a Musicians' Benevolent Fund Professional Development Award (UK), University of Chichester (UK) & ASCAP Plus Programme (USA).
* ALBUM OF THE MONTH (Feb 2012), Reviews New Age (SPAIN)
* Nominated for ALBUM OF THE YEAR, Reviews New Age (SPAIN)
OFFICIAL URL: http://www.navonarecords.com/catalog/nv5867/
SPOTIFY STREAMING: https://open.spotify.com/album/3JecPlvLIBhDWhGscCM47G
REVIEW in TEMPO (CUP, UK): https://www.jstor.org/stable/41482617?seq=1#page_scan_tab_contents
YOUTUBE WORK LINKS (with SCORES):
1. POLYHYMNIA (Multi-divisi string orchestra): https://youtu.be/xPMHd8EFMlg
2. TERPSICHORE (Showpiece for large orchestra): https://youtu.be/0flT7lJeR3U
3. FANFARE (for brass & percussion): https://youtu.be/tc9OMDw86GQ
4. SACRED PRELUDE (String quintet version): https://youtu.be/leallMTWFIA
5. KYRIE (SATB double choir & soloists): https://youtu.be/VIpvPYo0NAw
CD / STREAMING LINKS:
http://www.arkivmusic.com/classical/Namedrill?name_id=247356&name_role=4&rewr=1#details
https://www.classicalarchives.com/album/896931000673.html
https://www.australianmusiccentre.com.au/product/polyhymnia-string-orchestral-and-choral-works
https://www.amazon.co.uk/Polyhymnia-String-Orchestral-Choral-Jonathan/dp/B006O8K458
ALL YOUTUBE VIDEOS (with SCORES) - SEE:
https://www.youtube.com/user/Musicalia65/videos
REVIEW EXCERPTS:
* "Polyhymnia conjures up a heart-rending panorama: it is immensely poetic, almost otherworldly, and employs an exceptionally hypnotic array of musical colour." - Tempo (UK)
* "Beautiful, exciting, thrilling and remarkable in every sense ... Jonathan Little has rightly earned the recognition he is now receiving, and this album is a clear example of his talent." - Reviews New Age (SPAIN)
* "Little reflects on diverse influences ... but adds a richness of coloration, dynamic shading and melodic inventiveness all his own. Small wonder that this Australian composer has gained several awards on both sides of the Atlantic." - Classical Music Magazine (UK)
* " ... full of rich string orchestra harmonies and based on some beautiful melodic ideas. The texture is rich, and the effect is quite moving ..." - American Record Guide (USA)
* " ... on every piece on this disc, you can hear the influence of ancient music ... Yet, the final product sounds modern too, as Little adds his own personal elements to these sonic foundations: bursting through the panorama he paints with sudden flashes of light or menacing thunderbolts, and so projects the past into the future ..." - Kathodik (ITALY)
SEE ALSO (FEATURE INTERVIEW & REVIEW in FANFARE, USA):
https://www.academia.edu/38484452/Jonathan_Little_and_the_Importance_of_Ecstasy_Fanfare_36_1_2012_58-72._Composer_Interview_and_CD_review_
AND:
https://www.academia.edu/38556929/POLYHYMNIA_String_Orchestral_and_Choral_Works_of_Jonathan_David_Little._North_Hampton_NH_USA_PARMA_Recordings_NV5867_2012_._AUDIO_CD_
KEYWORDS: "Jonathan David Little", Polyhymnia, Nine Muses, multi-divisi, Terpsichore, orchestral showpiece, Fanfare, Sacred Prelude, string quintet, Kyrie, double choir, polychoral, polychoralism, polychorality, choral music, contemporary music, cori spezzati, PARMA, Musicians' Benevolent Fund
Clarke, Colin and Little, Jonathan D. (2017), The Profundity of Polychoralism: Exploring the work of Jonathan David Little [Interview and CD review]. Fanfare, 41 (2) [Nov./Dec.]. pp.121-131. ISSN 0148-9364
[INTERVIEW:] "The disc of sacred and secular choral and polychoral music by Jonathan David Little, Woefully Arrayed … is nothing short of remarkable. Stunningly recorded, the pure sonic joy is visceral. On a personal level, I haven’t experienced such revelation in choral terms since the Tallis Scholars’ first recording of the Allegri Miserere. As an interviewee, it turns out, Little is every inch as fascinating as his music. The following in-depth interview may be seen as an indispensable complement to the listening experience itself."
[CD REVIEW:] "Jonathan David Little is a composer whose music is vital, urgent and yet somehow timeless at the same time. … Woefully Arrayed has a mesmeric element to it … [and] is a masterpiece of time-stretching. As lines float and interact throughout the soundspace, there is a distinct impression of atemporality, of altering the way the listener experiences time. … sound is superb, full and reverberant … magnificently handled … A superb disc, one that simply gets better on each and every listening. There is a radiance to Little’s writing that seems shot through with spiritual light and which speaks on a very deep level to the listener."
PROJECT OVERVIEW: International Polychoral Music Composition, Recording and Dissemination Project (2015-17)
“The lost potential of the acoustics of performing spaces begins to be rediscovered in these works.”
A complex and ambitious, large-scale, two-year “polychoral” music creation and recording project was commissioned by the Australia Council – involving communicating how “re-discovered” ancient Renaissance and Baroque techniques of acoustically-innovative performer placement may be revived within new, original, contemporary contexts. One aim was to generate interest in largely long-forgotten, but still hugely useful and aurally impressive composition methods. Following a period of research and experimentation, several new, accessible choral works were created – most featuring intricate, a cappella, polychoral-inspired techniques. Therefore different sections of the choir, or different “sub-choirs” and/or vocal soloists, are sometimes placed in various arrangements around and above the audience (occasionally also involving movement). Due to the incorporation of such techniques, a striking extra dimension is added both to recordings and live performances – where the aural “spatial” interest creates a quasi-theatrical effect.
OPEN-ACCESS ONLINE CD BOOKLET (including contextual essay, spatial configuration diagrams, lyrics, pictures and notes): http://www.navonarecords.com/catalog/nv6113/booklet---woefully-arrayed---jonathan-little.html
YOUTUBE WORK LINKS (with SCORES):
1. WOEFULLY ARRAYED: https://www.youtube.com/watch?v=wEiWj_qNcfs
2. KYRIE: https://www.youtube.com/watch?v=VIpvPYo0NAw
3. GLORIA: https://www.youtube.com/watch?v=FI2PvLggGGI
4. WASTED & WORN: https://www.youtube.com/watch?v=ah9T3omlRmc
5. THAT TIME OF YEAR: https://www.youtube.com/watch?v=s4KxrWy9Wpw
6. CRUCIFIXUS [abridged reprise of "Woefully Arrayed"]: https://www.youtube.com/watch?v=oyz9EH8xV8M
CD / HIGH RES / STREAMING LINKS:
https://www.prestomusic.com/classical/products/8338016--woefully-arrayed
https://www.prostudiomasters.com/album/page/14390
https://www.amazon.com/Jonathan-Little-Woefully-Various-artists/dp/B071WT642H
ALL YOUTUBE VIDEOS (with SCORES) - SEE:
https://www.youtube.com/user/Musicalia65/videos
LINK to PODCAST INTERVIEW on WCPE-FM (US) about "POLYCHORAL MUSIC" (7 mins.):
https://theclassicalstation.org/listen/conversations-2/conversations-with-composers/#Jonathan%20David%20Little
KEYWORDS: "Jonathan David Little", composer, "Colin Clarke", reviewer, Fanfare Magazine, Woefully Arrayed, composer interview, polychoralism, polychorality, choral music, contemporary choral music, cori spezzati, spatial placement in music, acoustics of performing spaces, Kyrie, Gloria, Woefully Arrayed, Crucifixus, That Time of Year, Wasted and Worn, double choir, triple choir, Vox Futura, Andrew Shenton, Heinrich Christensen, Stanbery Singers, Paul John Stanbery, Thomas Tallis Society Choir, Philip Simms
(Full permission from the Owner/Editor of US Fanfare, Joel Flegler, has been granted to extract and make available to the public any interview or review material concerning the music of Jonathan David Little as it appears in Fanfare, and to cite it in full.)
SEE FURTHER: https://www.academia.edu/38490945/Polychorality_Article_Diagrams_and_Contemporary_Choral_Work_Descriptions_
AND:
https://www.academia.edu/38574837/_Composing_Polychoral_Music_Resonate_Magazine_22_Oct._2018_ONLINE_BLOG_ARTICLE_
AND:
https://www.academia.edu/38505604/Woefully_Arrayed_Sacred_and_Secular_Choral_and_Polychoral_Works_of_Jonathan_David_Little_AUDIO_CD_
AND:
https://www.academia.edu/38583848/LITTLE_Woefully_Arrayed_Gramophone_Jan._2018_REVIEW_of_AUDIO_CD_
AND:
https://www.academia.edu/38584062/Jonathan_David_Little_Woefully_Arrayed_La_Scena_Musicale_Feb._Mar._2018_32._REVIEW_of_AUDIO_CD_
Anderson, Martin (2012) Jonathan Little and the Importance of Ecstasy [Interview and CD review]. Fanfare, 36 (1). pp. 58-72. ISSN 0148-9364
[INTERVIEW/REVIEW EXCERPTS:] "A new CD from the New Hampshire label Navona—a new name to me, I must admit—brings orchestral, chamber, and choral music from the British-based Australian composer Jonathan Little. His name, too, was new to me, but it’s obviously one that will make its mark. ... Jonathan Little issues from a similar school of sensibility to that of the “holy mystics” of Eastern Europe, composers like Arvo Pärt and Pēteris Vasks. … [Terpsichore is] an exuberant orchestral essay somewhere between Respighi’s evocations of ancient Rome and Villa‐Lobos’s representation of the Brazilian jungle. … The Sacred Prelude is dignified and sober, moving without being emotional … it is clear from this CD that his fine command of atmosphere and orchestral color ought to command a decent fee in Hollywood. ..."
PROJECT OVERVIEW: Recording of selected choral, string and orchestral works, including two major works from the projected "Nine Muses" series, 'Terpsichore' and 'Polyhymnia' - on: http://www.navonarecords.com/catalog/nv5867/
Little, Jonathan D. (2012) Polyhymnia: String, Orchestral and Choral Works of Jonathan Little (Navona, NV5867). [Audio CD]
SEE FULL CD DESCRIPTION & DOCUMENTS AT: https://www.academia.edu/38556929/POLYHYMNIA_String_Orchestral_and_Choral_Works_of_Jonathan_Little._North_Hampton_NH_USA_PARMA_Recordings_NV5867_2012_._AUDIO_CD_
YOUTUBE WORK LINKS (with SCORES):
1. POLYHYMNIA: https://www.youtube.com/watch?v=xPMHd8EFMlg&t=5s
2. TERPSICHORE: https://www.youtube.com/watch?v=0flT7lJeR3U
3. FANFARE: https://www.youtube.com/watch?v=tc9OMDw86GQ
4. SACRED PRELUDE (string quintet version): https://www.youtube.com/watch?v=leallMTWFIA
5. KYRIE: https://www.youtube.com/watch?v=VIpvPYo0NAw
RECORD LABEL DESCRIPTION: 'With works described as "an inspired creation" (Music & Vision), "original and quite brilliant" (Fanfare), and "immensely poetic" (Tempo), Jonathan Little has planted himself as a luminary contemporary composer. On POLYHYMNIA, his first release on Navona Records, Little is able to transform traditional influences into rich, intense, and finely structured music that lives up to his reputation. POLYHYMNIA features Polyhymnia and Terpsichore, two orchestral pieces from Little's Nine Muses series, along with the powerful Fanfare, the atmospheric string quintet Sacred Prelude, and the intricate polychoral Kyrie.'
CD / STREAMING LINKS:
https://www.prestomusic.com/classical/products/8022196--polyhymnia
http://www.arkivmusic.com/classical/Name/Thomas-Tallis-Chamber-Choir/Ensemble/247356-4
https://www.amazon.co.uk/Polyhymnia-String-Orchestral-Choral-Jonathan/dp/B006O8K458
ALL YOUTUBE VIDEOS (with SCORES) - SEE:
https://www.youtube.com/user/Musicalia65/videos
SELECTED REVIEW EXCERPTS:
* "Polyhymnia conjures up a heart-rending panorama: it is immensely poetic, almost otherworldly, and employs an exceptionally hypnotic array of musical colour." - Tempo, UK
* "Slick and beautifully executed material." - Babysue, USA
* "Beautiful, exciting, thrilling and remarkable in every sense...Jonathan Little has rightly earned the recognition he is now receiving, and this album is a clear example of his talent." - Reviews New Age, SPAIN
* "Little reflects on diverse influences...but adds a richness of coloration, dynamic shading and melodic inventiveness all his own. Small wonder that this Australian composer has gained several awards on both sides of the Atlantic." - Classical Music Magazine, UK
* "...full of rich string orchestra harmonies and based on some beautiful melodic ideas. The texture is rich, and the effect is quite moving..." - American Record Guide
* "...on every piece on this disc, you can hear the influence of ancient music. ... Yet, the final product sounds modern too, as Little adds his own personal elements to these sonic foundations: bursting through the panorama he paints with sudden flashes of light or menacing thunderbolts, and so projects the past into the future..." - Kathodik, ITALY
SEE ALSO:
https://www.academia.edu/38574912/Creating_and_Recording_Polyhymnia_Resonate_Magazine_22_Feb._2012_ONLINE_BLOG_ARTICLE_
AND:
https://www.academia.edu/38556929/POLYHYMNIA_String_Orchestral_and_Choral_Works_of_Jonathan_David_Little._North_Hampton_NH_USA_PARMA_Recordings_NV5867_2012_._AUDIO_CD_
KEYWORDS: "Jonathan David Little", composer, "Martin Anderson", reviewer, Fanfare Magazine, composer interview, choral music, contemporary choral music, orchestral music, contemporary orchestral music, string music, contemporary string music, Polyhymnia, Terpsichore, Fanfare, Sacred Prelude, Kyrie, Nine Muses, ecstasy, Tallis Chamber Choir, Kiev Philharmonic, Czech Philharmonic
(Full permission from the Owner/Editor of US Fanfare, Joel Flegler, has been granted to extract and make available to the public any interview or review material concerning the music of Jonathan David Little as it appears in Fanfare, and to cite it in full.)
de Jonge, Justine and Little, Jonathan D. (2018), Two Old Boys, Two Music Paths, One Common Artistic Drive (Melbourne:. Encore [newsletter of the National Boys' Choir of Australia]) online and hardcopy.
Composer interview for the Sept. 2018 edition of "Encore" [newsletter of the National Boys' Choir of Australia], by Melbourne-based arts journalist and administrator, Justine de Jonge.
KEYWORDS: "Jonathan David Little", composer, "Justine de Jonge", composer interview, NBCA, National Boys Choir of Australia, choral music, contemporary choral music
ISBN-10: 1-7819-7284-9; ISBN-13: 978-1-78197-384-4. 304pp. with 250 illustrations (78 in full colour) and 11 interactive videos. Hardback.
AVAILABLE from SELECTED BOOKSHOPS and from AMAZON: https://www.amazon.co.uk/Definitive-Guide-Rise-British-Steam/dp/1781973849
Little, Jonathan David, and Claire Welch, The Definitive Guide to the Rise and Fall of British Steam [An Illustrated History of British Steam Locomotion] [35,000 WORDS] (Sywell, Northants., UK: Igloo Books Ltd., 1st November, 2013). Design by Ian Welch. ISBN-10: 1-7819-7284-9; ISBN-13: 978-1-78197-384-4. 304pp. with 250 illustrations (78 in full colour) and 11 interactive videos. Hardback.
KEYWORDS: Steam Engines, Steam Locomotives, British Railways, History of Railways, British Railway History, Steam Locomotion, "Jonathan David Little"
[Excerpt by kind permission of Igloo Books.]
First published in abridged form as "The Curse of Limock Park", in: The Civil Service Author (142), pp.10-14 (Oct/Nov 1998) [ISSN 0959-0064]. (Later republished in Udolpho, the magazine of the Gothic Society.)
Written in (a very large old mansion in) Dymock, Worcestershire, UK, in 1996.
Full, unabridged version is 3,455 words.
Also included is a major essay surveying "Melancholia" (perspectives through time). This essay is the revised and expanded 2011 version of an article on the subject of "Melancholia" [in the field of Aesthetics / Philosophy of Art], surveying the thoughts of leading philosophers, writers, artists, psychologists, and other scholars, from Classical times through to the Renaissance, and then focussing largely on the Romantic period.
LIMITED EDITION
(Wollongong, NSW, Australia: Wirripang, 2011) ISBN 978 187682923 0 (pbk.)
TO OBTAIN, see the publisher's website:
https://www.australiancomposers.com.au/collections/composers-and-authors/products/forms-and-possibilities
Wirripang Pty Ltd
18/106 Corrimal Street
Wollongong NSW 2500
Australia
Limited Edition of 300 copies, later re-published within:
Forms and Possibilities: Selected Verse (1983-2002), with An Essay on Melancholia: "The Muse of Bile" - An Appreciation and a Defence of the Artist's Temperament (1999) (Wollongong, Australia: Wirripang, 2011).
ISBN 978 187682923 0 (pbk.)
TO OBTAIN, see the publisher's website:
https://www.australiancomposers.com.au/collections/composers-and-authors/products/forms-and-possibilities
Wirripang Pty Ltd
18/106 Corrimal Street
Wollongong NSW 2500
Australia
Limited Edition of 100 copies, later re-published within:
Forms and Possibilities: Selected Verse (1983-2002), with An Essay on Melancholia: "The Muse of Bile" - An Appreciation and a Defence of the Artist's Temperament (1999) (Wollongong, Australia: Wirripang, 2011).
ISBN 978 187682923 0 (pbk.)
TO OBTAIN, see the publisher's website:
https://www.australiancomposers.com.au/collections/composers-and-authors/products/forms-and-possibilities
Wirripang Pty Ltd
18/106 Corrimal Street
Wollongong NSW 2500
Australia
Forms and Possibilities: Selected Verse (1983-2002), with An Essay on Melancholia: "The Muse of Bile" - An Appreciation and a Defence of the Artist's Temperament (1999) (Wollongong, Australia: Wirripang, 2011).
ISBN 978 187682923 0 (pbk.)
TO OBTAIN, see the publisher's website:
https://www.australiancomposers.com.au/collections/composers-and-authors/products/forms-and-possibilities
Wirripang Pty Ltd
18/106 Corrimal Street
Wollongong NSW 2500
Australia