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Jonathan Little (composer)
Jonathan David Little FRSA (born 1965 in Melbourne, Australia) is a composer, academic and writer based in the UK, working mainly in the "contemporary classical" genre. In 2009 he became the first composer to receive a Professional Development Award from the UK Music Business’s own charity, the Musicians' Benevolent Fund,〔"Jonathan Little’s Story", article on Musicians Benevolent Fund (UK) website (), May 2010. MBF (UK) 2010 Story - Jonathan Little, http://www.helpmusicians.org.uk/help_you/professionals/professional_development/jonathan_littles_story.aspx〕 and since 2005 he has received annual ASCAP Plus Awards for Concert Music, five "Masterworks" Recording Prizes (US), and in 2008 his first major album release was voted one of the top recordings of the year by US ''Fanfare magazine'' ("The Want List 2008").〔See reviews in ''Fanfare'' (US), Vol.31: No.5 (May–June 2008), pp. 179-180 and ''Fanfare'' (US), Vol.32: No.2 (Nov-Dec 2008), p.77〕 He was subsequently featured in a major news article in ''Musical Opinion'' in early 2009.〔See ''Musical Opinion'' (UK), No.1468 (Jan-Feb 2009), p.7.〕 As a composer, he first came to prominence in America in 2006 when The American Society of Composers, Authors and Publishers (ASCAP) ran an article on him having five of his works accepted for recording (2004–07) by the US-headquartered French contemporary music label ERM (Editions de la Rue Margot), aimed at showcasing international contemporary composers.〔"A British composer makes a big wave in the concert music world", in ASCAP (US) ''Playback'' magazine, Summer 2006.()First major ASCAP (US) 2006 Story http://www.ascap.com/playback/2006/summer/faces_places/london/jonathanlittle.html〕 He was awarded the Collard Fellowship of the Worshipful Company of Musicians in 2011, and in 2012 was elected a Fellow of the Royal Society of Arts.
==Musical Style==
Those seeking to define Jonathan Little’s musical style have, to date, used terms such as "Archaic Futurism", "Ecstatic Minimalism", and "Picturesque Archaism". "Completely novel, yet hauntingly familiar" is paradoxically how Little’s compositions have been described in Australia’s ''Music Forum'' (Feb-April 2009). Similarly, UK music critic Simon Thomas has written: "This is music that brings to mind so much else but at the same time isn't quite like anything you've heard before." 〔Thomas, Simon, "Little: Terpsichore and other works", in ''Music OMH'' (November 2008) (UK), Online at: http://www.musicomh.com/classical/recordings/terpsichore_1108.htm〕 In her first ''Fanfare'' review of the composer’s music (in May–June 2008), Lynn René Bayley felt it necessary to emphasize that "Little’s music sounds like no-one else’s. Not anyone’s." By the Nov-Dec 2012 issue of American ''Fanfare'', Bayley was again stressing that Little is "a composer difficult to pigeonhole because his works span a wide and interesting array of styles." In the previous issue of the same publication, David DeBoor Canfield (who collected a quarter of a million recordings before selling them on to the Library of Congress) agreed that "no other composer among the thousands whose music I've heard immediately comes to mind". Bob Lord, CEO of PARMA Recordings (US), has further remarked of Little’s music that it is "unusual and finely wrought … inventive and unconventional".〔Cited in Little, Jonathan, "Creating and recording ''Polyhymnia''", in ''Resonate'' (Sydney: Australian Music Centre) (February, 2012). Online at: http://www.australianmusiccentre.com.au/article/creating-and-recording-em-polyhymnia-em〕
Producer and publisher Martin Anderson conducted an in-depth interview with Little for the Sept-Oct 2012 issue of American ''Fanfare'', during which Anderson favoured the term "ecstatic minimalism" to describe both the effect and one of the most prominent techniques within Little’s powerful, "honest" and emotionally "direct" compositional style – which includes art music, folk/Celtic, and other sacred and secular musical influences from the fourteenth century onwards. (Anderson particularly drew attention to the sweet "ecstatic", Eton Choirbook-like sonorities and textures that Little creates.) ''Tempo'' (UK), ''Reviews New Age'' (Spain) and ''Fanfare'' (USA) have all termed his more ethereal music, "otherworldly". Of the overall sound of much of Little’s music, Anderson suggested that he "might almost go as far as to say it’s Vaughan Williams-meets-Steve Reich".〔See Anderson, Martin, "Jonathan Little and the Importance of Ecstasy" (the composer interviewed by the music producer, publisher, and founder/director of Toccata Classics and Toccata Press, Martin Anderson), in ''Fanfare'' (USA), Vol.36, No.1 (Sept/Oct 2012). ISSN: 0148-9364.〕 In Little’s first large-scale work, ''Terpsichore'' (an orchestral showpiece), critics have noted hints of the influence of Ravel and Respighi – with an additional added layer of Australian "freshness" – while in ''Polyhymnia'', some critics have also discerned echoes of the music of Arvo Pärt and the "holy mystics" of Eastern Europe. (Lynn René Bayley felt ''Polyhymnia'' to be "the spiritual cousin of Strauss’s ''Metamorphosen''" – stating, however, that she found ''Polyhymnia'' more to her personal taste, being as it is, perhaps, more in tune with modern sensibilities.) Several critics have especially drawn attention to Little’s "command" of orchestration, and his "expertise" in this area – speaking of his "finely honed" craftsmanship in deploying instrumental and vocal forces.〔See within the "Selected recorded music reviews" listed above.〕 Of the minimalist element within some of his scores, Little has said that he owes as much to the innovations of Leoš Janáček as to twentieth-century American minimal music.〔Most notably in the composer’s monograph, ''On Musical Composition''.〕
The Italian review ''Kathodik'' has more generally defined Little’s musical style as "''Futuro Antico''" (literally "''Ancient Future''" – expressed more appropriately perhaps as "''Antique Futurism''", or even, "''Archaic Futurism''") – a style also reflected in Little’s verse, which he has himself termed, in at least one publication, "''Picturesque Archaism''".〔See, for example, his ''Antique Sonnets'' – First and Second Series, reprinted in ''Forms and Possibilities: Selected Verse (1983–2002)'' (Wollongong, Australia: Wirripang, 2011).〕 On very old "sonic foundations" (Renaissance and pre-Renaissance modalism, instrumentation, even ancient songs and dances), ''Kathodik'' argued that Little builds structures overlaid with very contemporary – and seemingly pictorial – elements, so that "bursting through the panorama he paints with sudden flashes of light or menacing thunderbolts, and so projects the past into the future".〔See Focosi, Filippo, "Jonathan Little ‘Polyhymnia’ ", in ''Kathodik'' (16 April 2012). Online at: http://www.kathodik.it/modules.php?name=Reviews&rop=showcontent&id=4922〕 His style might therefore be likened to a kind of intense, modern Pre-Raphaelitism in music, or even be considered Bernini-like - in that it encapsulates certain qualities of refined power and poignant ecstasy. In the US, Mark Estren has added that "although no one hearing these works will confuse them with music of the 19th century or earlier, they are pieces in which the lessons of earlier times have been thoroughly absorbed, then reworked in a way that has visceral appeal to today’s listeners".〔See Estren, Mark J., "Modern but Accessible", in ''Infodad'' (1 March 2012). Online at: http://transcentury.blogspot.co.uk/2012/02/modern-but-accessible.html〕
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