Graham WHETTAM (1927-2007)
Radiant with Celestial Fire
Sonata No. 1 for solo violin (1958, rev. 1986) [16:41]
Sonata No. 2 for solo violin (1972, rev. 1993) [27:17]
Romanza No. 1 (1993) [7:58]
Romanza No. 2 (publ. 2000) [7:20]
Sonata No. 3 for solo violin (publ. 1990) [35:12]
Rupert Marshall-Luck (violin)
rec. 2018, Church of St Andrew, Toddington, Gloucestershire
EM RECORDS EMRCD058-059 [44:03 + 50:34]
Graham Whettam’s massive catalogue of music includes works in virtually every genre. I guess that the listener will rarely come across this composer’s compositions at recitals or concerts, and only rarely on CD or download. It is great that EM Records have issued a conspectus of his solo violin music.
A brief and incomplete review of previous Whettam recordings may be of interest. Divine Art (DDA 25038) have recorded a selection of the piano music, and Paladino (PMR 0041) issued the complete cello works. Redcliffe Records encouraged Whettam with excellent discs of the Sinfonia Intrepida (RR 016), the Concerto Drammatico for cello and orchestra and the Sinfonia contra timore (RR 017). In 2008, Carducci Classics (CSQ 5847) issued an album of String Quartets Nos.1 and 4, and the Oboe Quartet No. 2. Finally, Sinetone (AMR CD) released the Concertino for Oboe and String Orchestra, and the Concerto Scherzoso for Harmonica and Orchestra in 2012. All these albums are worthy of attention. Several more works, often deriving from live radio broadcasts, have been uploaded to YouTube.
Graham Whettam was born in Swindon on 7 September 1927. He was largely self-taught as a composer. His first public performance was in 1950. In 1953, Whettam’s Oboe Concerto was premiered at the Proms. He was Chairman of the Composer’s Guild in 1971 and again from 1983 to 1986. His five completed symphonies form the core of his achievement. Many of his works were premiered on the continent. His ‘post-romantic’ music is a perfect balance between grittiness and lyricism, and is always crafted meticulously. Graham Whettam died on 17 August 2007 at the village of Woolaston, Gloucestershire.
Before looking at these works, I will make a single caveat. For me, solo violin music is hard work when heard en masse. I listened to these five works discretely, with a long gap between. I adore Bach’s Cello Suites but can only cope with one at a sitting! I suggest that with this Whettam CD, the listener reads up the notes about one of the Sonatas or Romances, listens to it, takes a wee dram – or a cup of tea – and repeats the process. I promise it will lead to a satisfying experience!
The Sonata No. 1 was written in 1958 when Graham Whettam was 31 years old. This work is an ideal equilibrium between classical formal structures and a characteristic use of chromatic intervals to construct the melodic material. That said, I do not believe that the composer has attempted to compose a serial or atonal work as such. The order of movements is interesting. The soulful but terse (gritty?) opening andante features a theme, two variations and a coda. This is followed by a scherzo full of energy, showcasing percussive double stops counterpointing the melody. This is a rhythmic challenge for the soloist. Amazingly effective, though. The concluding movement is a palindrome. (Ends as it begins!) This gives the music an arch-like shape, which, as the liner notes state, provides a ‘journey from sorrow, fear and anguish to reassurance and quiet acceptance’. This description summarises not only this Sonata, but much of Graham Whettam’s music (based on the small amount I have been privileged to hear).
The Sonata No. 2 for solo violin was completed on 8 June 1972 but had to wait until 1993 before being revised and published. Once again Graham Whettam has used non-diatonic (not in a key) melodic patterns but has retained classical forms. This is intense music that can sometimes grate a little. The liner notes mention the ‘brutal’ section in the opening movement which comes after the ‘yearning’ introductory adagio. These are repeated in an even more concentrated manner. The movement ends with repose. The scherzo is a wee bit of a conundrum. The sleeve notes state that this is performed at the tempo of presto-allegretto con rubato- presto con prima. Yet the opening statement is not played fast. The movement does speed up a bit as it progresses. Various techniques appear here, including pizzicato, harmonics and extremes of register. The middle allegretto in the scherzo also seems relaxed. Certainly, movement does not become really animated until two-thirds of the way through. The slow movement is intimate in mood, with little to disturb the proceedings. However, towards the conclusion, the tension is ratcheted up in preparation for the finale. The Sonata ends with a complex fugue that highlights the difficult art of playing counterpoint on the fiddle. It is well done here; interest is maintained from the first note to the chordal conclusion.
The longest work here is the Violin Sonata No. 3 published in the 1990s. There is no indication in the liner notes when it was composed. The British Music Collection website at Huddersfield University cites 1989 as the date. This is a complex work, which probably needs the score to help understand the cohesion between, and internal to, each movement. All I can give is an overall impression of the piece. This four-movement work seems to me to be well-argued, deeply pensive and featuring a wide range of timbre. The second, slow movement creates a magic that I find compelling and moving. This contrasts with the will o’ the wisp scherzo svelto. But even here the music is never totally extrovert. Pizzicato and harmonics bring this ‘elvish’ music considerable colour and interest. The finale is a different kettle of fish: this is a rather gloomy set of variations, although the magical spell is recreated here and there. Once again, Whettam has used many of the performer’s tools of the trade, including strumming, multiple stopping and combinations of bowed and plucked string played in tandem.
I first heard the two Romanzas whilst reviewing Whettam’s Complete Music for Cello, played by Martin Rummel. The first Romanza was originally written for violin, and was later rescored for viola. It was composed in 1993 and dedicated to Jillian White for her retirement from the post of Senior Music Producer at the BBC studios in Bristol. The second was written specifically with Martin Rummel’s playing style in mind during 2000 and was transcribed for violin and for viola. This was dedicated to Hilary Groves, a family friend. It was Whettam’s idea that both Romanzas be played successively at a recital. These two pieces are pure abstract music. Despite the title, there is no programme whatsoever. They contrast and complement each other with their exploration of lyricism, rhythmic vitality and textural diversity. I noted before that these two Romanzas demand our concentration. Only then will their undoubted charm, beauty and considerable depth be revealed.
The liner notes, written by the violinist Rupert Marshall-Luck, are detailed and excellent in every way. Clearly, he has taken Whettam’s wonderful music to heart and is a great advocate of it. There is also an appreciation of the composer by Christine Talbot Cooper. The engineers have created a spacious sound on this recording, and have captured every detail of the recital.
I hope that Graham Whettam’s compositions will feature in many more recordings over the coming years. And I am sure that EM Records must have an important part in the promulgation of his music. I guess that the ultimate desideratum is a cycle of the complete Symphonies, including Sinfoniettas and Sinfonias.
Meanwhile, with the above caveat about listening strategies, Rupert Marshall-Luck’s stunningly performed survey of the solo violin music is an excellent contribution to Graham Whettam’s slowly evolving discography.
John France
