Harty wrote his Piano Concerto in 1922 and gave the first performance the following year with Beecham at the helm of the Hallé Orchestra.
Unashamedly indebted to Tchaikovsky and Rachmaninov (the finale even boasts a near-crib from the latter's Second Concerto), it's a thoroughly endearing, red-blooded affair, but not without its occasional longueurs.
Or at least that's how it seemed up until now.
Peter Donohoe and Takuo Yuasa drive a truly propulsive (and, it must be said, purposeful) course through both outer movements. The piano sometimes sounds a little tired but Donohoe's bravura is frequently jaw-dropping and there's no lack of enthusiasm or sensitivity about the orchestral support. A refreshing and instructive display.
The Concerto is preceded by a similarly mobile, mostly spick-and-span account of Harty's delightful A Comedy Overture of 1906 and what is the first commercial recording of the Fantasy Scenes (from an Eastern Romance). These appeared in 1919 and comprise four fetching vignettes which nod appreciatively towards the likes of Rimsky-Korsakov, Borodin and Balakirev; Yuasa and company do them proud. Nor can there be any major grumbles about the recording, which is commendably truthful.
Altogether a most enjoyable release and well worth its modest asking price.

Harty wrote his Piano Concerto in 1922…thoroughly endearing, red-blooded affair, but Donohoe's bravura is frequently jaw-dropping and there's no lack of enthusiasm or sensitivity about the orchestral support. A refreshing and instructive display. The Concerto is preceded by a similarly mobile, mostly spick-and-span account of Harty's delightful A Comedy Overture of 1906... and... the Fantasy Scenes... These appeared in 1919 and comprise four fetching vignettes which non appreciatively towards the likes of Rimsky-Korsakov, Borodin and Balakirev. ...Yuasa and company do them proud. Altogether a most enjoyable release...