Composer: Graham Whettam
Works: Concerto Drammatico, Sinfonia contra timore
Performers: Martin Rummel (cello), Leipzig Radio Symphony Orchestra, Günter Blumhagen (conductor)
Recording: Concerto, recorded Sept 2000; Sinfonia, recorded Oct 1975
Label: Redcliffe Recordings
Graham Whettam, a composer whose work has often dwelled in the shadows of British orchestral music, re-emerges with renewed vigor in this release featuring two significant compositions: Concerto Drammatico and Sinfonia contra timore. Born in 1927, Whettam’s musical journey reflects a steadfast commitment to expressing complex human emotions through abstract forms, a quality that is acutely evident in these pieces. The Concerto Drammatico, an evolved version of his earlier Cello Concerto from 1962, showcases Whettam’s adeptness at weaving personal experience with broader human themes, while the Sinfonia contra timore serves as a potent reflection of its Cold War-era context.
The performance of Concerto Drammatico by Martin Rummel is both technically proficient and deeply expressive. Rummel’s interpretation breathes life into the work’s emotional landscape, particularly in the slow movements—now labeled Scena and Ultima Scena. These sections retain the meditative quality of the original while the newly integrated Scherzo introduces an exhilarating contrast. Rummel’s nuanced phrasing accentuates the work’s climactic moments, particularly in the transition from the somber, reflective passages to the vigorous and rhythmically charged Scherzo. The cello’s voice, under Rummel’s command, oscillates between lyrical melancholy and furious outbursts, effectively capturing Whettam’s intent to explore the depths of human emotion.
From a technical standpoint, the Leipzig Radio Symphony Orchestra under Günter Blumhagen provides a compelling backdrop. Their performance of Sinfonia contra timore reveals a keen understanding of Whettam’s intricate orchestration. The opening movement’s menacing prelude is executed with precision, leading seamlessly into the agitated Allegro molto. The brass section’s unison statements resonate powerfully, setting the stage for the ensuing dance-like frenzy. The orchestra’s collective sound is both robust and finely detailed, allowing the distinct colors of Whettam’s orchestration to shine. The engineering of the recording captures the dynamic contrasts exceptionally well, maintaining clarity even in the most complex passages.
In comparison to other recordings of Whettam’s works, this release stands out not only for its interpretative depth but also for its commitment to presenting the composer’s music with authenticity. Previous interpretations may have leaned more heavily on either emotional intensity or technical precision, but Rummel and Blumhagen strike a commendable balance. Their approach underscores Whettam’s individuality, allowing his music to resonate with both urgency and introspection. The inclusion of historical context enhances the listener’s appreciation, as the works reflect not just personal struggles but also broader societal issues, particularly in the Sinfonia contra timore’s dedication to those oppressed for their beliefs.
This recording serves as a vital reintroduction to Whettam’s oeuvre, effectively highlighting his unique voice in the landscape of contemporary classical music. With its rich emotionality and technical prowess, both works exemplify Whettam’s capacity to transcend mere abstraction, delivering profound commentary on the human condition. The performances are compelling, the sound engineering impeccable, and the overall presentation of these pieces is an essential contribution to the re-evaluation of British orchestral music. Whettam’s music, too often overlooked, deserves this recognition and celebration, reaffirming his place on the contemporary musical map.
