… “clarinetist Arthur Campbell plays various works for clarinet and piano so exemplarily as one seldom hears…”
“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.”
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.
“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.”
“a perfect realization of the variety of atmospheres that Brahms characterizes in the score”
“The American and French instrumentalists succeed absolutely convincingly here in their interpretation, stirring for both heart and mind – especially in Surround Sound.“
“…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.”
“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.”
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.”
“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.”
“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.”
“This latest entry then into a highly crowded field is highly recommended for exquisite playing, enhanced by a wonderfully warm and perfectly balanced recording.”
“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.”
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.
Music for Clarinet and Piano; Audite
Stereo Magazine CD des Monats
(CD of the Month), January 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 Brahms chamber works featuring clarinet are magnificently played by Canadian-born Arthur Campbell. A beautiful recording!”
“Campbell finds a beautiful instrumental balance for a musical message of remarkable expressive wealth.”
“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.”
“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.”
“For ambiance, intimacy, and audiophile presence in your Brahms library, you need only acquire this fine disc.”
“Campbell takes his opportunities to full advantage in the sonatas. His expression recalls that of his great master teacher, Marcellus.”
“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. “
“a remarkable overall performance”
“…all the players deserve high praise for bringing these late, autumnal works to life so beautifully.”
“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.”
“The musicianship and clarinet playing are superb.”
“Wonderful tone and clear phrasing result in a very expressive performance.”