‘Heading for the Hills’ by Nobuya Monta and Peter Byrom-Smith
Performed by Strata String Quartet
Violin 1: Oliver Morris
Violin 2: Alexandra Dunn
Viola: Laurie Dempsey / Alice Billen
Cello: Roderick Skipp
Recorded at Blueprint Studios, Salford
Mixed and Mastered by Gaz Hadfield
Cover design by Louis Barabbas
Debt Records, released July 15, 2016
This first classical release by Debt Records celebrates a groundbreaking East-West collaborative partnership between Japanese composer Nobuya Monta and British composer Peter Byrom-Smith. ‘Heading for the Hills’, a suite in 10 movements for string quartet, is the main work on the album, bookended by Sonata Lamentosa and Sinfonia by Monta. Peter Byrom-Smith’s work, which lends its title to the album, is a tribute to the landscape of the Peak District close to where Peter and his wife Gillian, a poet, have made their home in Glossop in Derbyshire.
“The title of the album was taken from a poem written by my wife Gillian Byrom-Smith. The poem was inspired by the frequent rail journeys we have taken across the ﬂat Vale of York towards the beauty of the Pennines.”
The main six movements of the work are musical images of real journeys between the east and west of England, depicting things the composer observed, or thought he had observed during the course of these journeys (Galleons, Swallows, Raindrops, Heading for the Hills Lanterns, Buds). A Prelude and Postlude were added to complete the work – and the journey – so that the suite works as an entire narrative when performed in concert. No. 7, Buds, was composed by Nobuya Monta and Peter Byrom-Smith.
This haunting, expressive and evocative music contains hints of British minimalist composer Michael Nyman, but without the (sometimes tiresome) insistent repetitions. Byrom-Smith seems more intent on using melody, harmony and dialogue between the instruments to create interesting textures and musical interactions. Motifs are stated, restated and developed, for example the dancing figure which opens over a drone in ‘Raindrops’ develops into a playful, twirling dance between the instruments. Here there are more than a few hints of English folksong and dance before the middle section unfolds in a more contemplative manner. Later, the folksy motif returns and an insistent little fanfare is heard in all instruments.
‘Swallows’ creates a feeling of space, of birds wheeling and circling in the sky, with its contoured melodic lines and delicate fioriture, redolent of the solo violin line in ‘The Lark Ascending’ by Vaughan-Williams. ‘Buds’ unfolds slowly, just as a flower or plant opens to reveal itself. The final work in the suite, Postlude, recalls themes heard previously in the Prelude and introduces new material to bring the narrative and imagery to its conclusion.
Nobuya Monta’s ‘Sonata Lamentosa’ is an emotional response to the tragedies that have occurred all over the world. The textures here are more florid, the mood more urgent with an almost Schubertian melancholy (cf String Quartet No. 14, ‘Death and the Maiden’), though, as in Schubert, there is also a sense of hope.
The closing work on the album, ‘Sinfonia’, is also by Monta, and once again seems infused with the moods and motifs of late Schubert and the harmonic and rhythmic piquancy of the early twentieth century (Ravel, Debussy). It utilises contrapuntal textures and the second movement is a thrilling fugue.
Composer Peter Byrom-Smith will featured in forthcoming Meet the Artist interview