American Phillip Ramey’s
musical output is primarily for piano.
Born in 1939, he studied with Alexander
Tcherepnin in Nice and Chicago. He later
continued his studies at Columbia University.
This is the second disc to showcase
his piano works. The first (Toccata
0029) included performances of three
sonatas (1, 2, 5) and this includes
Sonata 4, along with other short pieces.
The influence of Prokofiev’s music for
piano—namely the motoric tendencies
of his music, as well as his irreverent
tone—can be heard throughout the disc,
from the nonstop movement and extreme
range of Ramey’s Toccata No. 1 to the
introspective Ode for F. D. R
of 2004, which is steeped in the sound-world
of Prokofiev’s 8th piano
sonata. Opening the disc, Ramey’s Diversions,
composed shortly after his years at
Columbia university, culminates in an
all-out commandeering of Prokofiev’s
Toccata for piano.
Book one of Epigrams,
eleven pieces of between thirty seconds
to one-and-a-half minutes, is more enigmatic
in tone. These remind one of moments
from Feldman’s Triadic Memories
as much as from Hindemith filled with
flinty dissonance, strangely insinuating
twelve-tone rows, and occasional grandiose
statements. The composer stated that
these were composed under the cajoling
of Aaron Copland, who encouraged him
to explore twelve-tone writing. This
element of his composition was encouraged
by one of his other instructors, Alexander
Tcherepnin, who also employed a semi-serial
style.
No doubt one of the
tracks on this disc that will grab people
is the Leningrad Rag of 1972, which
bends The Gladiolus Rag through
the lens of chord clusters and other
modern tricks. The overall effect is
that the Gladiolus is somehow
melting and fragmenting at once—a bewildering
and fun romp.
The other large-scale
work on this disc is the fourth piano
sonata, of the late eighties, in two
movements. The opening andante subtitled
Monologue with Arabesques, has
singing lines over repeated dark chords
in the left hand, calling to mind elements
of Prokofiev’s Sarcasms as well
as the disquieting beauty of the centre
movement of Prokofiev’s Op. 29. The
closing second movement—over twice as
long as the first—plays with a theme
borrowed from his mentor Tcherepnin,
combined with a four-note motto. The
liner notes give insight as to the construction
of this piece and are extremely informative.
In addition is a brief commentary by
the performer on Ramey’s piano music.
Recorded in the presence of the composer,
these appear to be the definitive performances
of these pieces. The sound quality is
very good, and Conti’s performances
are assured. Certainly recommended for
fans of Alexander Tcherepnin and Prokofiev.
Considering that Piano Sonata 3 is not
yet released, and there are approximately
fifty Ramey piano compositions, we have
more discs in this series to look forward
to. More please!
David Blomenberg
Mirian Conti (piano) 
