THE VIRGINIAN-PILOT
Copyright (c) 1994, Landmark Communications, Inc.
DATE: Sunday, August 21, 1994 TAG: 9408190099
SECTION: DAILY BREAK PAGE: E7 EDITION: FINAL
TYPE: ALBUM REVIEWS
LENGTH: Medium: 85 lines
Crosby, Stills and Nash, ``After The Storm'' (Atlantic) - Fresh from another artistically shaky Woodstock appearance, Crosby, Stills and Nash have released a vibrant, at times passionate new recording. Unlike 1990's ``Live It Up,'' a totally lame and contrived attempt at updating their sound, ``After The Storm'' succeeds in part because it attempts no such ambitious stylistic metamorphosis. With the help of veteran producer Glyn Johns, the trio has fashioned a satisfying, harmony-filled collection that plays entirely to its strengths.
Stephen Stills' upbeat ``Only Waiting For You'' kicks off the album and provides a glimpse of hope. Stills' time-ravaged voice manages to sound both strong and warm, and his guitar playing on this tune is first rate, as it is throughout the album. Even more musically ambitious Stills' ``Panama,'' which closes the album. It is Stills' most successful attempt yet to fuse his Latin and rock leanings.
It's the songwriting contributions of David Crosby that are ``After The Storm's'' most pleasant surprise. Never a prolific or particularly melodically gifted composer, Crosby has contributed to three tunes on the album. His acoustic ``Camera,'' co-written with Stills, is one of the finest tunes Crosby has ever written and raises the album to a level that, frankly, CSN have seldom reached since their early years.
And then there's Graham Nash, who once wrote the line ``I am a simple man, I sing a simple song.'' He does indeed write simple songs. Yet, as one listens to an unadorned acoustic guitar based ballad like ``Unequal Love,'' or the mid-tempo rocker ``These Empty Days,'' the melodic simplicity is compensated for by the universal appeal of his lyrics.
``After The Storm'' is by no means perfect. The cover of the Beatles' ``In My Life'' is a dud. Still's ``Bad Boyz'' is one of those excessive electric guitar exercises he occasionally lapses into. And Crosby's song about the homeless, ``Street To Lean On,'' simply pales in comparison to his other contributions. But the album is on balance a very impressive comeback.
- Jack Frieden
Vladimir Viardo, piano works of Rachmaninoff and Medtner (London); Eldar Nebolsin, piano works of Chopin and Liszt (Elektra Nonesuch) - Fans of great Romantic piano literature will welcome these new releases featuring fine pianists exploring lightly-treaded repertoire.
Viardo's Rachmaninoff and Medtner are imbued with the tradition of elevated Russian pianism. He demonstrates exquisite control and articulation of all the voices, as well as impeccable dynamics and phrasing. Rachmaninoff's wildly creative ``Corelli'' Variations are powerful, precise and compelling.
Medtner, a contemporary of Rachmaninoff, found his compositional niche in sonata form. While the four sonatas on this recording lack Rachmaninoff's grandeur and drama, they are agreeable, and Viardo polishes them off deftly.
Eldar Nebolsin is a 20-year-old sensation from Uzbekistan who hammers out secure, vital performances. His gift for independence between his hands lends itself well to Chopin's rich contrapuntal textures, especially in the Op. 58 sonata. Even the two brief waltzes included on this disc reveal sprightly inner voices.
Nebolsin's interpretations are catchy, lively and sure to please. He's tender and passionate in the lyrical sections and energetic in the difficult rhapsodic sections. Liszt's Hungarian Rhapsody No. 12 has an impulse and drive that Nebolsin delivers with appropriate punch and authority. This is gypsy music and Nebolsin's playing bristles with vigor.
- Terry Joy
The Beaux Arts Trio - Beethoven, Triple Concerto and Choral Fantasy (Philips) - Beethoven never quite solved the problem of a three-instrument concerto. Should they play one at a time? Together? Two against one? In this case, the piano takes a back seat while the cello gets most of the notes. The violin is somewhere in between.
The Beaux Arts Trio, with new violinist Ida Kavafian, nonetheless derives pure Beethovenian energy from this rarely heard score. It's a delight to hear these top-notch chamber musicians collaborate with Kurt Masur and the Leipzig Gewandhaus Orchestra.
Pianist par excellence Menahem Pressler is featured in the Choral Fantasy, a close relative of the Ninth Symphony remarkable for its improvisatory character. As in the Ninth Symphony, Beethoven saves the glorious entrance of the chorus for the final section. This is a resonant, spacious recording, and the choir sounds especially rich and full.
- Terry Joy MEMO: To hear excerpts from these recordings, call INFOLINE at 640-5555 and
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