Montague, Stephen (Rowley)
Montague, Stephen (Rowley)
Montague, Stephen (Rowley), American composer and pianist; b. Syracuse, N.Y., March 10, 1943. Following studies in piano, conducting, and composition at Fla. State Univ. (B.M., 1965; M.M., 1967), he pursued his education at Ohio State Univ. (D.M.A., 1972) and worked at the Studio for Experimental Music at the Polish Radio in Warsaw on a Fulbright scholarship (1972–74). In 1974 he made London the center of his activities as a freelance composer, but also toured widely as a pianist championing contemporary music. From 1985 he also toured with the pianist Philip Mead in the duo known as Montague/Mead Piano Plus. In 1980 he helped organize the Electro- Acoustic Music Assn. of Great Britain, later known as the Sonic Arts Network. In 1992, 1995, and 2000 he was a visiting prof, at the Univ. of Tex. at Austin, and in 1997 at the Univ. of Auckland in New Zealand. From 1993 he was a visiting guest prof, at the Royal Coll. of Music in London, and chairman (1993–97) and artistic director (1998–99) of the SPNM (Soc. for the Promotion of New Music) of Great Britain. From 1995 to 1997 he also was composer-in-residence with the Orch. of St. John’s Smith Square in London. Montague’s extensive output includes various electroacoustic pieces and acoustic scores.
dramatic:Largo con moto, graphic/text piece for Dancer and Tape (London, March 15, 1975); Criseyde, theater piece for Soprano Playing Ocarina, Slide, and Tape (Mexico City, Oct. 19, 1976); Into the Sun, ballet for 4-Channel Tape, Percussion, and Prepared Piano (Manchester, Oct. 31, 1977); The West of the Imagination, music for a television drama /documentary series (1986); many other pieces. orch.:Voussoirs for Orch. and Tapes (1970–72); Sound Round for Orch. and Digital Delay (1973; Manchester, July 11, 1988); At the White Edge of Phrygia for Chamber Orch. (London, June 20, 1983; for Full Orch. as From the White Edge of Phrygia, (1984); also as part of the ballet, Median, (1984); Prologue (1984; London, Jan. 3, 1985; also as part of the ballet, Median, 1984); Dark Sun for Orch. and Tapes (1995); Snakebite (1995); The Creatures Indoors (1996); Piano Concerto (1997); A Toy Symphony for 6 Soloists and Chamber Orch. (Bath, June 6, 1999). band:March Militaire (1999). chamber:The Eyes of Ambush for 1 to 5 Instruments or Voices and Digital Delay (1973); Caccia for Trombone, Piano, Tape, and Amplification (1974); Quiet Washes for 3 Trombones and 3 Pianos or Harps or Prerecorded Versions (1974); Strummin’ for Piano, Strings, Lighting, and Tape (1974–81); Inundations I: Trio for 3 Amplified Pianos, 12 Pianists, and Tape (1975) and II: Willow for Soprano, Piano, and Tape (1976); E Pluribus Unum, graphic/text piece for Any Chamber Group (1976); Introduction for Voice, Acoustic Feedback, and Tape (1976); Parameli I for Muted Trombone and Muted Piano (1977), II: Entity for 6 Percussionists (1977), III for Piano, Chorus of Humming Audience, and Pre-recorded Cassette (1981), IV for Tuba or Bass Trombone and Tape (1979), V for 2 Pianos (1981), and VI for Piano, Flute, Clarinet, and Cello or Percussion (1981); Quintet, graphic/text piece for Any Instrument and Prerecorded 4-Channel Tape (1978); Trio, graphic/text piece for Any Instrument and Pre-recorded Stereo Tape (1978); Gravity’s Rainbow for Flute, Live Electronics, and Tape (1980); Duo, graphic/text piece for Any Instrument and Pre-recorded Tape (1982); Tongues of Fire for Piano, Live Electronics, and Tape (1983–90); Haiku for Piano, Flanger, and Electronic Tape (1987); 2 string quartets: No. 1, in memoriam Barry Anderson and Tomasz Sikorski, with Live Electronics and Tape (1989–93) and No. 2, Shaman, with Live Electronics and Tape (1993); Behold a Pale Horse for Organ (1990); After Ives. ..for Piano, Tape, Live Electronics, and Optional Flute and String Quartet (1991–93); Vlug for Flute, Tape, and Live Electronics (1992); Aeolian Furies for Accordion (1993); Phrygian Tucket for Harpsichord and Tape (1994); Silence: John, Yvar and Tim for Prepared String Quartet and Prepared Piano (1994); Chew Chow Chatterbox for 4 Percussion (1998). VOCAL: Varshavian Spring for Chorus and Orch. (1973–80); Sotto Voce, graphic/text piece for Multiphonic Chorus, Tape Recorder, and Playback System (1976); Tigida Pipa for Amplified Voices, Woodblocks, Claves, and Electronic Tape (1983–89); 3 Temperance Songs for Woman’s Voice and 6 Instruments or Synthesizer, Piano, and Optional Tape (1988); Boombox Virelai for 4 Men’s Voices (1992); Wild Nights for Soprano, Clarinet, Viola, and Piano (1993); Varshavian Autumn for Chorus and Orch. (1995); The Camel and the Crane for Soprano, Baritone, Chorus, and Orch. (1998). electroacoustic:Synthetic Swamp (1969–97); A Presto Patch (1973); Scythia (1981); Quartet (1982); Slow Dance on a Burial Ground (1982–84); Bright Interiors (1992–96).
—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire