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Agustin Anievas: a pianist for (almost) all seasons
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had provided the most listening pleasure through the years, it would
be impossible to overlook the name of Agustin Anievas. The other
automatic names would be Van Cliburn, of course, Ivan Davis (for the
sheer fun and flair and wit of his playing), Leon Fleisher, Charles
Rosen (for his intellectual depth if not for his pianistic prowess)
and Byron Janis.
But Gus Anievas has often been overlooked by piano aficionados,
probably because of the fairly early abandonment of his concert career
in favour of the quieter life of a teacher and family man. In error,
in my opinion.
I have recently taken down his many EMI recordings for another listen.
Again, I am won over by the total naturalness of the playing, the easy
romantic phrasing, the lack of fakery and sheer plainness of the
playing. The composer, whatever composer - Chopin, Rachmaninoff,
Liszt, Schubert - becomes the real star of an Anievas recording. It is
not that he lacks individuality or temperament, just that this does
not leap out at you in the first instance, as it does, say, with
Martha Argerich, for example.
The Chopin Etudes (reissued in a Forte twofer 574290-2 which seems to Darius Beckford is a jazz pianist and composer with a background in classical. In 2023, they graduated from SUNY New Paltz with a bachelor’s in jazz performance. They currently play in multiple jazz, rock, and funk bands that play all over Hudson Valley and NYC. They have performed at multiple festivals, accompanied vocalists, directed ensembles, and composed for small films and podcasts. On top of this, they regularly host jazz jam sessions around the Hudson Valley. Additionally, they have played solo classical and jazz piano for numerous art galleries and wedding ceremonies. As a teacher, Darius crafts the lessons to both their students’ needs and interests. They encourage their students to experiment and explore music in anything that may pique their interest throughout the day, even if it's strange or a little silly. Darius ensures that each student can connect with the music in ways that are fun, personal, and unique to them. Lynnette Benner began playing flute at the ripe old age of eleven. An avid horse lover, she earned an A.A.S. Equine Science and worked in that field for eleven years while continuing to play and perform. Returning to college, she earned a B.S. Music Performance, Flute, from SUNY New Paltz. She studied with Marcia Gates, Lynn Cunningham, Sarah Trautman, and Gary Schocker. Lynnette teaches Flute, Oboe, Chamber Music, and Kindermusik. She also can be heard on movie soundtracks and CDs. Lynnette lives in Millerton, NY with her husband, stepson, four cats, two horses, and two dogs (all rescues!). Peter did his undergraduate work at SUNY New Paltz, where he earned his B.A. in Theory/Composition. He received a Masters in Composition from SUNY Binghamton in 2014. His studies have included piano, composition, and electronic music. Between 1992 and 1996 Peter was the composer-in-residence for the Bucks County Center for the Perfo Permalink .
have been deleted, alas) are a case in point. I first purchased these
in the 1960s on a budget EMI issue from the UK. They have always been
among my very favourite recordings of this music, although many others
have come along since to seduce my ears. The CD issue reveals a few
finger slips which could easily have been caught by the producer, but
they only humanise Anievas in my opi About Our Instructors
In Person
Darius Beckford
Piano
Lynnette Benner
Flute, Oboe
Peter Cody
Piano
had provided the most listening pleasure through the years, it would
be impossible to overlook the name of Agustin Anievas. The other
automatic names would be Van Cliburn, of course, Ivan Davis (for the
sheer fun and flair and wit of his playing), Leon Fleisher, Charles
Rosen (for his intellectual depth if not for his pianistic prowess)
and Byron Janis.
But Gus Anievas has often been overlooked by piano aficionados,
probably because of the fairly early abandonment of his concert career
in favour of the quieter life of a teacher and family man. In error,
in my opinion.
I have recently taken down his many EMI recordings for another listen.
Again, I am won over by the total naturalness of the playing, the easy
romantic phrasing, the lack of fakery and sheer plainness of the
playing. The composer, whatever composer - Chopin, Rachmaninoff,
Liszt, Schubert - becomes the real star of an Anievas recording. It is
not that he lacks individuality or temperament, just that this does
not leap out at you in the first instance, as it does, say, with
Martha Argerich, for example.
The Chopin Etudes (reissued in a Forte twofer 574290-2 which seems to
have been deleted, alas) are a case in point. I first purchased these
in the 1960s on a budget EMI issue from the UK. They have always been
among my very favourite recordings of this music, although many others
have come along since to seduce my ears. The CD issue reveals a few
finger slips which could easily have been caught by the producer, but
they only humanise Anievas in my opinion. Although I have not actually
seen the mastertape, I feel that there were probably very few edits
here, unlike the famed Pollini recording on DG made a few years later,
where the yellow tape flits by incessantly, indicating that his was
truly a manufactured perfection. Anievas comes across as very real,
very true. Also true in the feeling behind his playing. He doesn't