{"product_id":"harris-complete-piano-music","title":"Harris: Complete Piano Music","description":"These days, Roy Harris is remembered as the                   composer of a famous \u003ci\u003e3\u003c\/i\u003e\u003ci\u003e\u003csup\u003erd\u003c\/sup\u003e\u003c\/i\u003e\u003ci\u003e Symphony\u003c\/i\u003e,                   who wrote a lot of other Symphonies, but whose other music is                   hardly known, let alone heard. There is a school of thought which                   believes that beyond the \u003ci\u003e3\u003c\/i\u003e\u003ci\u003e\u003csup\u003erd\u003c\/sup\u003e\u003c\/i\u003e\u003ci\u003e Symphony\u003c\/i\u003e                   most of his work isn’t worth the paper it’s written on. Certainly                   there appears to be a lack of self-criticism on Harris’s part                   which allowed less well constructed and written works out into                   the public arena. Works such as the \u003ci\u003eConcerto for Piano, Clarinet                   and String Quartet, op.2\u003c\/i\u003e (1927), \u003ci\u003eString Quartet No.3,\u003c\/i\u003e                   \u003ci\u003eFour Preludes and Fugues\u003c\/i\u003e (1937), \u003ci\u003eViolin Sonata\u003c\/i\u003e (1941)                   and the chamber cantata \u003ci\u003eAbraham Lincoln Walks at Midnight\u003c\/i\u003e                   (1953), not to mention the orchestral works \u003ci\u003eWhen Johnny Comes                   Marching Home: An American Overture\u003c\/i\u003e (1934), the \u003ci\u003eViolin                   Concerto\u003c\/i\u003e (1949) and the \u003ci\u003e1\u003c\/i\u003e\u003ci\u003e\u003csup\u003est\u003c\/sup\u003e\u003c\/i\u003e (1933)                   and \u003ci\u003e7\u003c\/i\u003e\u003ci\u003e\u003csup\u003eth\u003c\/sup\u003e\u003c\/i\u003e (1955) \u003ci\u003eSymphonies\u003c\/i\u003e show                   a composer of real stature. The chamber works could so easily                   be programmed but they’re not and our not hearing them is our                   loss, and a significant loss at that. \u003cbr\u003e                    \u003cbr\u003e                  None of the pieces on this disk could be claimed to be major works                   but there are some very attractive and interesting things nonetheless.                   The two sets of \u003ci\u003eAmerican Ballads\u003c\/i\u003e use folk-tunes, such as                   \u003ci\u003eThe Streets of Laredo\u003c\/i\u003e and \u003ci\u003eWhen Johnny Comes Marching                   Home\u003c\/i\u003e, and are delightful suites with some nice quirky turns                   of phrase. In feel they are reminiscent of Barber’s \u003ci\u003eExcursions\u003c\/i\u003e                   for piano and would enrich any recital of modernish piano music.                   The early \u003ci\u003eSonata\u003c\/i\u003e is a tersely argued work in four succinct                   movements, and it’s easy to see why the original \u003ci\u003escherzo\u003c\/i\u003e                   wouldn’t have fitted into Harris’s scheme of things. The \u003ci\u003ePiano                   Suite\u003c\/i\u003e is another strong work; the first movement is bold and                   brassy, demonstrative and forthright, the middle movement pensive                   and the finale a French flavoured gigue. \u003cbr\u003e                    \u003cbr\u003e                  For the rest we have six miniatures. The \u003ci\u003eToccata\u003c\/i\u003e contains                   elements of both the headlong rush you’d expect from such a work,                   and short reflective interludes. The \u003ci\u003eVariations on an American                   Folksong, True Love Don’t Weep\u003c\/i\u003e starts in a most serious manner,                   becomes lighter then just as you think it’s going somewhere it                   stops! \u003ci\u003eUntitled\u003c\/i\u003e is, I believe, the earliest piece we know                   by Harris and it’s very strange, questing and angular, almost                   tuneless and imbued with an otherworldly feel. \u003ci\u003eLittle Suite\u003c\/i\u003e                   is fun, this could almost be a teaching piece. \u003ci\u003eA Happy Piece                   for Shirley\u003c\/i\u003e is a delightful tribute. \u003ci\u003eOrchestrations\u003c\/i\u003e,                   a strange title for a solo piano piece, especially from someone                   as adept at orchestration as Harris, is very serious and profound.                   \u003cbr\u003e                    \u003cbr\u003e                  Whilst most of these works have been recorded before, it’s good                   to have them collected together on one disk, and although none                   of them can claim pretensions to be a lost masterpiece, they are                   more than mere chippings off the block of genius. The performances                   have an air of authority about them and the recording is clean                   and clear. The notes, if not exhaustive, are helpful. Essential                   for anyone investigating the Symphonies which Naxos is in the                   process of recording and there are works here which pianists should                   be investigating when seeking something piquant for their recitals.                   \u003cbr\u003e                  \u003cbr\u003e                  -- Bob Briggs, MusicWeb International","brand":"Naxos","offers":[{"title":"CD","offer_id":49608083702040,"sku":"636943966426","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/1719170.jpg?v=1777800557","url":"https:\/\/hbdirect.com\/products\/harris-complete-piano-music","provider":"HBDirect","version":"1.0","type":"link"}