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Beau Soir - Katherine Mclin, Andrew Campbell


Release Date: 11/10/2009 
Label:  Summit Records   Catalog #: 533   Spars Code: n/a 
Composer:  Jean FrançaixLili BoulangerGabriel PiernéClaude Debussy
Performer:  Andrew CampbellKatherine McLin
Orchestra/Ensemble:  McLin Campbell Duo
Number of Discs: 1 
Recorded in: Stereo 
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Notes and Editorial Reviews



BEAU SOIR Katherine McLin (vn); Andrew Campbell (pn) SUMMIT 533 (54:48)


FRANÇAIX Violin Sonatine. L. BOULANGER 2 Morceaux. PIERNÉ Violin Sonata. DEBUSSY Golliwog’s Cakewalk. Beau soir (arr. Heifetz). La Plus que lente Read more (arr. Roques). Mandoline (arr. McLin and Campbell)


Katherine McLin and Andrew Campbell have collected French works for violin and piano, either original or in arrangements. McLin, playing a Sanctus Seraphin from 1713, sounds almost preternaturally bright, if rhythmically driven, in the crisp first movement of Jean Françaix’s Sonatine. Campbell creates a sensitively evocative mood at the opening of the second movement; the violin part begins with double-stops and McLin, despite a somewhat uncertain-sounding balance on the strings at the outset and near the end, for the most part matches Campbell in expressivity. The duo seems equally at home in each of the variety of styles—from the breezy through the bracing to the somber—that rub shoulders in the last movement’s theme and variations.


Lili Boulanger’s intense Nocturne and the brief, bright Cortège , original compositions for violin and piano, make a most effective pairing in the duo’s congenial performances, searing in the first and sweeping in the second. Gabriel Pierné’s sonata for violin and piano, perhaps more popular in the setting the composer later made for flute and piano (the only guise in which I’ve heard it live), nevertheless sounds perfectly idiomatic in the original version (Prokofiev transcribed his Flute Sonata for violin at the suggestion of David Oistrakh; but that work has achieved perhaps a more equal popularity in both forms). Jascha Heifetz, though he never recorded the work, had it in his library (now it’s included in the Heifetz collection at the Library of Congress) and played it in Carnegie Hall on December 6, 1939 (though he sometimes backed away from works like this one that offer few opportunities for display, either of his technical prowess or of his unique personality). The duo investigates the substantial first movement’s subtleties, with McLin drawing throughout on a varied timbral palette and building with Campbell to a tempestuous conclusion. The sensitively expressive second movement, evoking in this reading the subtlety of Franck’s sonata (and perhaps occasionally that of Fauré’s First as well), leads to a similar finale that proceeds at a similar tempo (both movements bear the designation allegretto in their titles); in it, McLin and Campbell indulge in ecstatic dialogue, with some dark undercurrents reminiscent of those in Ravel’s Violin Sonata (which this sonata, from 1900, preceded by several decades). McLin hardly embraces the full panoply of romantic expressive devices in her reading, meticulously tailoring her portamentos judiciously to achieve subtle effects at climactic moments.


McLin is by turns sassy and seductive in Heifetz’s arrangement of Debussy’s Golliwog’s Cakewalk , though her manner should hardly remind listeners of the Master. Similarly, she doesn’t recall Heifetz’s electrifying way with Roques’s arrangement of La Plus que lente , but she’s almost equally effective in her own quieter, gentler manner. The duo has made its own suave arrangement of Mandoline , which they play with fey exuberance. Campbell heavily accentuates the arpeggios in Beau Soir (Heifetz’s arrangement), which the duo takes at a tempo slower than I’ve heard it, one that may cause some listeners, more familiar with Heifetz’s own readings—or Leonid Kogan’s—to lose the thread of the musical argument.


The recital should appeal most strongly to those steeped in the timbral and harmonic subtleties that these pieces (even Françaix’s) share. With its vivid recorded sound, however, and its sympathetic performances, it deserves to be recommended much more widely than to specialized audiences.


FANFARE: Robert Maxham
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Works on This Recording

1.
Sonatine pour violon et piano: Vivace by Jean Françaix
Performer:  Andrew Campbell (Piano), Katherine McLin (Violin)
Orchestra/Ensemble:  McLin Campbell Duo
Period: 20th Century 
Length: 2 Minutes 19 Secs. 
2.
Sonatine pour violon et piano: Andante by Jean Françaix
Performer:  Andrew Campbell (Piano), Katherine McLin (Violin)
Orchestra/Ensemble:  McLin Campbell Duo
Period: 20th Century 
Length: 4 Minutes 12 Secs. 
3.
Sonatine pour violon et piano: Thême Varié by Jean Françaix
Performer:  Katherine McLin (Violin), Andrew Campbell (Piano)
Orchestra/Ensemble:  McLin Campbell Duo
Period: 20th Century 
Length: 5 Minutes 52 Secs. 
4.
Deux Morceaux pour violon et piano: Nocturne by Lili Boulanger
Performer:  Katherine McLin (Violin), Andrew Campbell (Piano)
Orchestra/Ensemble:  McLin Campbell Duo
Period: 20th Century 
Length: 3 Minutes 8 Secs. 
5.
Deux Morceaux pour violon et piano: Cortège by Lili Boulanger
Performer:  Katherine McLin (Violin), Andrew Campbell (Piano)
Orchestra/Ensemble:  McLin Campbell Duo
Period: 20th Century 
Length: 1 Minutes 41 Secs. 
6.
Sonate pour violon et piano, Op. 36: Allegretto by Gabriel Pierné
Performer:  Katherine McLin (Violin), Andrew Campbell (Piano)
Orchestra/Ensemble:  McLin Campbell Duo
Period: Romantic 
Written: 1900; France 
Length: 9 Minutes 57 Secs. 
7.
Sonate pour violon et piano, Op. 36: Allegretto tranquillo by Gabriel Pierné
Performer:  Katherine McLin (Violin), Andrew Campbell (Piano)
Orchestra/Ensemble:  McLin Campbell Duo
Period: Romantic 
Written: 1900; France 
Length: 5 Minutes 15 Secs. 
8.
Sonate pour violon et piano, Op. 36: Andante non troppo - allegretto un poco agitato by Gabriel Pierné
Performer:  Katherine McLin (Violin), Andrew Campbell (Piano)
Orchestra/Ensemble:  McLin Campbell Duo
Period: Romantic 
Written: 1900; France 
Length: 8 Minutes 40 Secs. 
9.
Children's Corner: no 6, Golliwogg's Cake-walk by Claude Debussy
Performer:  Katherine McLin (Violin), Andrew Campbell (Piano)
Orchestra/Ensemble:  McLin Campbell Duo
Period: 20th Century 
Written: 1906-1908; France 
Length: 3 Minutes 22 Secs. 
Notes: Arranger: Jascha Heifetz. 
10.
La plus que lente by Claude Debussy
Performer:  Katherine McLin (Violin), Andrew Campbell (Piano)
Orchestra/Ensemble:  McLin Campbell Duo
Period: 20th Century 
Written: 1910; France 
Length: 5 Minutes 40 Secs. 
Notes: Arranger: Léon Roques. 
11.
Mandoline by Claude Debussy
Performer:  Katherine McLin (Violin), Andrew Campbell (Piano)
Orchestra/Ensemble:  McLin Campbell Duo
Period: 20th Century 
Written: 1882; France 
Length: 1 Minutes 38 Secs. 
Notes: Arranger: McLin Campbell Duo. 
12.
Beau soir by Claude Debussy
Performer:  Katherine McLin (Violin), Andrew Campbell (Piano)
Orchestra/Ensemble:  McLin Campbell Duo
Period: 20th Century 
Written: circa 1880; France 
Length: 2 Minutes 59 Secs. 
Notes: Arranger: Jascha Heifetz. 

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