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Selected Press Quotes:
Music
for Clarinet and Piano; Audite
After
the recording of Brahms works in 2007 (Supersonic
Award, Pizzicato), the American clarinet virtuoso
Arthur Campbell continues his collaboration with Audite.
The perfectly balanced chamber music atmosphere of
this recording, the sensitive dialogue between the
clarinetist and pianist, are striking. The program,
with works of German, French, and British composers
spanning two centuries, shows the multiple facets
of the clarinet and the wonderful moods it can engender.
And that's what Campbell is about, too. He doesn't
want to show off, he is concerned about expression,
and with that he is helped by what one must call an
outstanding art of coloring [shading]. In Schumann's
Fantasy Pieces at least, but also in the
sonatas of Saint-Saëns, Poulenc and Arnold he
succeeds in making every movement a small evocative
tone picture.
—
Pizzicato
Magazine (Luxembourg), January 2012
—
Music
for Clarinet and Piano; Audite
Stereo Magazine CD des Monats
(CD of the Month), January 2012
Music
for Clarinet and Piano; Audite
... “clarinetist Arthur Campbell plays various
works for clarinet and piano so exemplarily as one
seldom hears...”
—
Fono Forum, Star of the Month April
2012
Music
for Clarinet and Piano; Audite
“Campbell virtually fuses with the tone of the
piano (Helen Marlais), which results in an interpretation
of impressive inclusiveness. Seldom has one so clearly
observed the bubbling substructure of the piano part
of Schumann’s Fantasy Pieces Op. 73 and, thereby,
seldom have the Schumann pieces been played so elegantly
and delicately. And seldom has the clarinet part in
Debussy’s Premier Rhapsody been seamlessly joined
with the impressionistic piano tones. Campbell’s
and Marlais’ playing is always exact, elegant,
without excess. The beauty of this genuinely joint
playing is so engaging that it seems to lack for nothing.”
—
Fono
Forum, Star of the Month April 2012
Mr.
Green’s Concerto for Clarinet and Strings, revised
from an earlier work for saxophone and string orchestra,
opened with a relaxed lyricism reminiscent of Hollywood’s
take on Copland’s music... ...Arthur Campbell
was the eloquent soloist, sounding especially strong
in his rich lower register.
—
The New York Times, March 9, 2010
In
Mr. Lifchitz’s “Night Voices No. 16,”
for clarinet, strings and percussion, Mr. Campbell
was more clearly the focus. Unaccompanied for long
stretches, his clarinet sang, purred and growled ornate
soliloquies during the fitful work, as strings murmured
and a percussionist punctuated the flow.
—
The New York Times, March 9, 2010
“That
brings us to the American school, which has managed
to produce, in my opinion, the finest clarinetists
of all—Stanley Drucker, David Shifrin, Richard
Stoltzman, Harold Wright, and let us not forget Benny
Goodman; and now Arthur Campbell can be added to this
prestigious list.”
—
Fanfare Magazine Issue 30:6 July / Aug 2007
“The
Brahms chamber works featuring clarinet are magnificently
played by Canadian-born Arthur Campbell. A beautiful
recording!”
—
ClassicalCDReview (R.E.B. March, 2007)
“a
perfect realization of the variety of atmospheres
that Brahms characterizes in the score”
—
CD Compact, (Spain) Recomendado Award
"Campbell
finds a beautiful instrumental balance for a musical
message of remarkable expressive wealth."
—
Opus (France) Magnifique Award
"Despite
all his classicism, the music of Brahms speaks first
to the heart. This is certainly the case with this
recording of major works for the instrument of warm-hearted
sonority, that is the clarinet, which Brahms was very
keen on."
—
Pizzicato Magazine, (Belgium)
Supersonic Award
"The
American and French instrumentalists succeed absolutely
convincingly here in their interpretation, stirring
for both heart and mind - especially in Surround Sound.“
—
Ensemble Magazine, Germany
"...Campbell
shines in the opening of the F Minor Sonata (1894),
where he infuses the chromatic lines with dark passion,
abetted in each figure by pianist Frances Renzi. In
the more subdued passages, the two make for some expressive
intimacy on a high order of execution – potent
rainy-day music."
—
Audiophile Audition
“This
[CD] is quite wonderful. Campbell, a Canadian native
who studied with Robert Marcellus, is a terrific player
with excellent breath control and pure, non-wheezy
tone.”
—
American Record Guide May/June 2007, Vol. 70, No.
3
"Opus
120, Nos. 1 & 2, ...have been recorded by a number
of artists over the years, none better than this collaboration
between Arthur Campbell and Frances Renzi. This may
be THE definitive recording of these two beautiful
sonatas."
—
BandDirector.com
"For
ambiance, intimacy, and audiophile presence in your
Brahms library, you need only acquire this fine disc."
—
Audiophile Audition
"Campbell
takes his opportunities to full advantage in the sonatas.
His expression recalls that of his great master teacher,
Marcellus."
—The
Clarinet - December 2007
“Campbell’s
lucid tone and spot-on intonation make for
a
performance that is easy to listen to. He takes it
beyond
the
workmanlike, with some of the tenderest playing one
could
wish for.”
—The
Clarinet - December 2007
“This
trio performs expertly together, and one senses they
are enjoying the music to the fullest. ...Campbell
shines in the opening of the slow movement. He relishes
the chance to show off his silky, soft sound. “
—The
Clarinet - December 2007
"They
[the Brahms Sonatas and Trio] are offered to us by
young soloists who, with clarinetist Arthur Campbell
in the lead... have succeeded in capturing their most
profound essence."
—
Scherzo Magazine (Spain), June, 2007, No. 220
"a
remarkable overall performance"
—
Le Monde de la Musique, France, 01.03.2007
“American
clarinetist Arthur Campbell turns in polished performances
of the sonatas, with Frances Renzi a sympathetic associate
artist. Their accounts emphasize the dreamy beauty
of Brahms' writing, and Campbell's variation of tone
is quite beguiling in and of itself.”
—
www.musicweb-international.com,
December 2007
“...all
the players deserve high praise for bringing these
late, autumnal works to life so beautifully.”
—
American Record Guide May/June 2007, Vol. 70, No.
3
"This
latest entry then into a highly crowded field is highly
recommended for exquisite playing, enhanced by a wonderfully
warm and perfectly balanced recording."
—
Fanfare Magazine Issue 30:6 July / Aug 2007
"The
Trio in A minor, Opus 114 features internationally
known clarinetist Campbell and French compatriots
Meyer and Raclot. All play with sensitivity, passion,
and flawless technique."
—
BandDirector.com
"The
performance of this work is exceptional. Campbell’s
tone, phrasing and dynamic contrast really portray
the essence of this piece, a work which will most
likely become a standard in the clarinet repertoire.”
—The
Clarinet, September 2001, review of the World Premiere
recording of Shulamit Ran’s Three Scenes for
Clarinet
"The
musicianship and clarinet playing are superb."
—The
Clarinet, September 2001 review of the World Premiere
recording of Augusta Read Thomas’ from Icarus
with GustO
"Wonderful
tone and clear phrasing result in
a
very expressive performance."
—The
Clarinet, September 2001 review of Premieres!
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