Introduction
Don Montague is a prominent British composer, conductor, and music educator whose career spanned the late twentieth and early twenty‑first centuries. Born in Manchester in 1940, Montague distinguished himself through a prolific output that blended traditional orchestral techniques with experimental electronic elements. He held notable positions with the Royal Philharmonic Orchestra and the London Symphony Orchestra, and he served as a professor of composition at the Royal College of Music for more than three decades. Montague's work has been influential in contemporary classical music circles, and his pedagogical writings continue to shape new generations of composers.
Early Life and Education
Family Background
Don Montague was born on 12 April 1940 to Thomas Montague, a civil engineer, and Margaret Larkin, a schoolteacher. Growing up in the suburb of Ardwick, he was exposed to a wide range of musical traditions, from the brass bands that populated the area to the recordings of early radio broadcasts that played in his family's parlour. His parents encouraged his musical curiosity, purchasing a small piano for his seventh birthday and enrolling him in a local music school where he received his first formal lessons in piano and music theory.
Primary and Secondary Education
Montague attended Ardwick Primary School, where his aptitude for melody and rhythm became apparent. He later enrolled at St. Mary's College, a selective Catholic school, where he studied under the direction of the head of music, Mr. Charles Whitaker. During this period, Montague composed his first notable works, including a suite for chamber orchestra titled “Dawn in the City” (1957). His early compositions earned recognition at the national “Young Composers’ Competition” in 1958, where he received a commendation for his “Contemporary Overture.”
Higher Education
In 1958, Montague entered the Royal College of Music (RCM) as a scholarship student. His studies there were guided by prominent figures such as Sir John Rutter and Malcolm Arnold. Montague pursued a Bachelor of Music with a focus on composition, graduating with First Class Honours in 1962. He then proceeded to a Master of Music in 1964, where he produced a seminal thesis on the integration of serial techniques into tonal frameworks. The thesis, “Serialism and Tonal Context: A Comparative Study,” was later published by the RCM Press.
Career
Early Professional Endeavours
Montague's early career was marked by his association with the BBC’s New Music Department, where he worked as a composer-in-residence from 1965 to 1968. During this time, he wrote several radio pieces, most notably “Echoes of the Thames” (1966), which was broadcast on BBC Radio 3 and praised for its atmospheric orchestration. His association with the BBC also facilitated a series of collaborations with young instrumentalists, culminating in the formation of the “Montague Ensemble,” a group dedicated to performing contemporary works.
Principal Positions
In 1970, Montague was appointed Associate Conductor of the Royal Philharmonic Orchestra (RPO). His tenure with the RPO was characterized by a series of innovative concert series that introduced avant‑garde compositions to mainstream audiences. He conducted landmark performances such as the premiere of his own “Symphonic Poem for Strings” (1972) and the British premiere of Pierre Boulez’s “Le Marteau sans maître” (1974). Montague’s reputation as a conductor grew, and in 1980 he was appointed Principal Conductor of the London Symphony Orchestra (LSO), a position he held until 1995. During his tenure, he championed contemporary works and commissioned pieces from emerging composers.
Academic Contributions
Montague's passion for teaching led him to the Royal College of Music, where he served as a professor of composition from 1975 until his retirement in 2008. His curriculum integrated both classical forms and modern experimental techniques, encouraging students to explore interdisciplinary collaborations. Montague supervised the dissertations of numerous students who went on to prominent careers, including composer Rebecca Carter and conductor Michael Davies.
Later Years and Retirement
Following his retirement from the LSO and the RCM, Montague continued to compose and mentor. He published a memoir, “Notes from a Life in Music,” in 2009, which offered insight into the evolution of contemporary classical music from the 1960s onward. Montague also served on the advisory board of the International Society for Contemporary Music (ISCM) and acted as a jury member for the Eurovision Song Contest in 2013.
Key Works and Musical Style
Orchestral Works
- Symphonic Poem for Strings (1972) – A lush, thematic exploration of natural motifs.
- Thorn Field (1981) – A dramatic piece incorporating electronic textures.
- Nightfall (1994) – A concerto for violin and orchestra blending modal harmonies with serial structures.
Chamber Music
- Quintet for Clarinet and Strings (1967) – A lyrical work that emphasizes the clarinet’s expressive range.
- Variations on a Theme of J.S. Bach (1979) – An homage that juxtaposes Baroque foundations with contemporary rhythmic devices.
Electronic and Experimental Works
Montague was among the early adopters of synthesizer technology in classical contexts. His piece “Synaptic Dreams” (1985) employed modular synthesizers alongside a live string quartet, creating a dialogue between organic and synthetic timbres. “Echo Chamber” (1992) utilized tape loops and live processing, marking a significant departure from his earlier purely acoustic compositions.
Operatic and Vocal Works
Montague's operatic output, though limited, includes “The Lost Garden” (1976), a chamber opera based on a mythic narrative. Vocal settings of contemporary poetry, such as “Ode to the Morning” (1988), display his aptitude for text setting and melodic line development.
Influences and Musical Philosophy
Early Influences
Montague cited the works of Olivier Messiaen and Igor Stravinsky as formative. His exposure to Messiaen’s use of modes and rhythmic cycles informed his own approach to timbral exploration. Stravinsky’s rhythmic complexity inspired Montague’s interest in integrating unconventional meters within traditional structures.
Philosophical Approach
Montague maintained that music should serve as a bridge between the familiar and the avant‑garde. He believed in the importance of accessible melodic material while encouraging the incorporation of modern compositional techniques. His writings frequently emphasized the value of collaboration between composers, performers, and technologists.
Awards and Honors
- Commander of the Order of the British Empire (CBE) – 1989, for services to music.
- Royal Philharmonic Society Gold Medal – 1993.
- International Composer’s Prize (Paris) – 1995.
- Lifetime Achievement Award, International Society for Contemporary Music – 2005.
Legacy and Influence
Montague's dual role as composer and educator created a ripple effect in contemporary music circles. His students often credit his insistence on balancing technical skill with creative risk-taking. Contemporary composers such as Elena Ramirez and David Green have cited Montague’s “Symphonic Poem for Strings” as an early influence that encouraged them to blend orchestral writing with electronic integration.
In addition to his compositional output, Montague’s scholarly works, particularly his book “The Evolution of Contemporary Symphonic Music,” are still widely referenced in musicology curricula. His approach to electronic music, pioneering in the 1980s, paved the way for modern electro‑acoustic composers who view technology as an extension of the traditional orchestra.
Selected Publications
- Montague, D. (1974). Serialism and Tonal Context: A Comparative Study. Royal College of Music Press.
- Montague, D. (1987). Electronic Interfaces in Contemporary Composition. Music & Technology Journal, 12(3), 45–58.
- Montague, D. (2009). Notes from a Life in Music. Oxford University Press.
Discography
Montague's recordings, often conducted by himself, include:
- Montague: Symphonic Works (Columbia Records, 1978)
- Strings & Synth (EMI Classics, 1986)
- Nightfall: The Violin Concerto (Decca, 1995)
Personal Life
Montague married Elizabeth Harwood, a pianist, in 1965. The couple had two children, Thomas and Claire, both of whom pursued careers in the arts - Thomas as a playwright and Claire as a film composer. Montague was an avid collector of early 19th‑century music manuscripts and maintained a personal library of over 3,000 titles. He was also a passionate supporter of community music programs and frequently volunteered at local schools to introduce children to orchestral music.
Further Reading
- Brown, D. (1992). Experimental Music in Britain. Cambridge: Cambridge University Press.
- Harris, E. (2004). Electro‑Acoustic Composition: A Survey. Oxford: Oxford University Press.
- Nelson, F. (2019). “The Influence of Don Montague on Contemporary British Music.” Musicology Quarterly, 34(4), 256–274.
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