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Artist
David T. Little’s potently dramatic music draws upon his experience as a rock drummer, and fuses classical and popular idioms to powerful effect. Often undertaking political and existential themes, he has been described by The New York Times as having “a knack for overturning musical conventions…an accomplished theatrical creator.” The New Yorker has called him, “one of the most imaginative young composers on the music-theatre scene.” His music has been performed throughout the world—including in Dresden, London, Edinburgh, LA, Montreal, and at the Tanglewood, Aspen, MATA and Cabrillo Festivals—by such performers as the London Sinfonietta, Alarm Will Sound, eighth blackbird, So Percussion, ensemble courage, Dither, NOW Ensemble, PRISM Quartet, the New World Symphony, Beth Morrison Projects, Peak Performances, American Opera Projects, the New York City Opera, the Grand Rapids Symphony and the Baltimore Symphony Orchestra under Marin Alsop. He has received awards and recognition from The American Academy of Arts and Letters, the Mid Atlantic Arts Foundation, Meet The Composer, the American Music Center, the Harvey Gaul Competition, BMI, and ASCAP, and has received commissions from Carnegie Hall, the Baltimore Symphony, the Albany Symphony, the New World Symphony, Pittsburgh New Music Ensemble, the University of Michigan, and Dawn Upshaw’s Vocal Arts program at the Bard Conservatory. The Wall Street Journal called Little’s first full-length opera, Dog Days, “one of the most ex
and the sky was still there
1212Hellhound
1113Dog Days, Act II "Fall": Act II "Fall": Scene 3, Mirror
1044Haunt of Last Nightfall: Act I: I. Curtain, El Mozote
995Agency: IV. Leviathan Rising and the All-Seeing Eye
956Haunt of Last Nightfall: Act I: II. Between the Hammer and the Anvil
947Am I Born: Part I. Prelude: Am I Born; Born By Brushstroke
818Agency: I. Uluru Rising
819Haunt of Last Nightfall: Act II: VI. … and there was morning - the Second Day
7510dress in magic amulets, dark, from My feet
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