Composer: Graham Whettam
Works: Concerto Drammatico, Sinfonia contra timore
Performers: Martin Rummel (cello), Leipzig Radio Symphony Orchestra, Günter Blumhagen (conductor)
Recording: Concerto, Sept 2000 Univ Illinois, Sinfonia, Oct 75 German Radio
Label: Redcliffe Recordings
Graham Whettam, born in 1927, has carved a unique niche within the landscape of British orchestral music, marked by an uncompromising individuality and a deeply expressive style. His Concerto Drammatico, an evolution of the 1962 Cello Concerto, reflects a maturation of his musical language and emotional palette. The 1998 reworking introduces a Scherzo, expanding the original’s two-movement structure into a more dynamic framework that retains its meditative core while inviting a broader emotional spectrum. The historical context of the piece, emerging from a post-war Britain grappling with the shadows of conflict, provides an essential backdrop for understanding Whettam’s artistic intentions.
The performance by Martin Rummel is nothing short of remarkable. His interpretation of the cello part embodies both lyrical depth and technical prowess, navigating the intricacies of Whettam’s writing with a keen sensitivity. The Scherzo, introduced in this version, serves as a vital counterpoint to the preceding slow movements, juxtaposing moments of frenetic energy against the profound introspection characteristic of Whettam’s style. Rummel’s articulation of the cello’s soaring lines, particularly during the climactic peaks, showcases a delicate balance between power and nuance. The Leipzig Radio Symphony Orchestra, under the baton of Günter Blumhagen, provides a robust yet flexible accompaniment, allowing Rummel the space to explore the emotional landscape that Whettam has meticulously crafted. The orchestration, with its deft use of woodwinds and brass, complements the cello’s voice, enhancing the drama without overshadowing it.
In Sinfonia contra timore, Whettam’s fourth symphony, the thematic material is both personal and universal, reflecting the composer’s response to societal injustices during the Cold War. The first movement’s ominous prelude leads into a vigorous Allegro molto that brims with tension and urgency. Blumhagen’s direction captures the piece’s inherent volatility, drawing attention to the unison passages for brass that launch the energetic dance motif. The orchestra’s tight ensemble playing is particularly commendable, with each section contributing to the symphonic tapestry. The final Allegro deciso effectively recalls earlier motifs, culminating in a defiant conclusion that echoes the work’s thematic concerns with resilience.
The recording quality is commendable, striking a balance between clarity and warmth that allows the individual voices within the orchestra to shine. The engineering captures the dynamic contrasts inherent in Whettam’s writing, from the hushed introspection of the slow sections to the tumultuous climaxes that punctuate both works. Compared to earlier recordings of these pieces, this release stands out for its visceral immediacy and attention to detail, making it an essential listen for both connoisseurs and newcomers to Whettam’s oeuvre.
Whettam’s music is not merely a reflection of personal experiences but also an exploration of broader human themes, rendered with an expressive power that resonates deeply. This recording revitalizes his contribution to the orchestral repertoire, showcasing his ability to meld emotional weight with sophisticated structural design. The synergy between Rummel and the orchestra, coupled with the thoughtful engineering, makes this a significant addition to the catalog of contemporary British music. The Concerto Drammatico and Sinfonia contra timore exemplify Whettam’s artistry, affirming his place in the pantheon of modern composers whose voices demand to be heard and celebrated.
