Description: A bassoonist-composer is a relative rarity, but one uniquely positioned to attend to and appreciate the inner voices of an ensemble. Thus it is that Harris has written a work for 12 violas, as well as the pieces for four flutes, or two bassoons, with piano, included here. The composer’s idiom is tonal and neoclassical, with impeccable craftsmanship and a deft, light touch, often with touches of humor. Rosemoor Suite is a set of easy-going character pieces depicting pastoral scenes, a neoclassical take on the once-popular Charleston, and 'cues' for a 'silent movie' score - one scene of which apparently had something Wagnerian about it. The Horn Concertino plays with the horn's heroic, Romantic character, with a bucolic slow movement which briefly gives way to a more dramatic episode, and a lively rondo-finale. The unusual - probably unique - Sonata for Two Bassoons is technically demanding, requiring rhythmic precision between the players; clearly an example of a proud bassoonist giving his colleagues a chance to shine. The piece is neo-Romantic, with some lively jazzy episodes insisted on by the piano in the outer movements. The Flute Concertino is classical in structure and Romantic in mood; sonata form, a nostalgic slow movement, playful rondo-finale. The six movements of Flowers attribute character and even drama to flowering plants, from resilient pansies and clover to the miniature military march of invading kudzu. The Triptych explores the atmospheric, descriptive colors available to an ensemble of flutes. Assorted soloists, Eclipse Chamber Orchestra; Sylvia Alimena.