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Francois Chaplin

  • Pianist


François CHAPLIN reviews


His style includes a singing tone and a beautiful sound conveyed by the harmonies, which melt away as if his fingers were sliding over the chords (…). Like the great Chopin players of yesteryear – Cortot, Friedman, Kempff, Novaes and Magaloff – Chaplin’s poetic playing overflows with charm, and manages to be at once sensitive, lyrical, and vigorous while avoiding over-refinement, agitation and brutality.
(Alain Lompech)

François Chaplin’s rich sound, enhanced by the subtlest nuances, is immediately compelling (…). He uses Chopin’s famous rubato – which is also a way of letting the music breathe – invisibly, as it were, so tasteful, elegant and unaffected is his playing. This is an album that will satisfy the most demanding listener.
(Jean Roy)

Récital in ERLANGEN

"A Lion of the keyboard, from Paris"

Lions of the keyboard: they still exist! Those brilliant musical wizards, those soloists with personal ity enough to relegate the tenets of interprétation to a position of secondary importance. The French pianist François Chaplin - he studied with Jean-Claude Pennetier and Ventsislav Yankoff - carries on the great European virtuose tradition; he is a worthy descendant of Liszt et al.

With Chaplin, there is no false timidity, no fear of flights of grandeur, of violent storms offeeling and wild paroxysms. [...]
This supreme artist doesn't waste time with détails that are only of minor importance, nor does he lose sight of the overall structure. [...] The resuit is disconcerting and impressive.

Hans von Draminski-Erlangen Bayern Erlanger Nachrichten

Récital at the Stadtbucherei, HEIDELBERG

This pianist's style is French in its elegance and nobility. His playing, which has earned him prizes in several international competitions, is graceful, flexible and generous. In Debussy he brought out ail the beauty and fragrance of 'Les sons et les parfums tournent dans l'air du soir', without indulging in the slightest exaggeration. We were able to savour the subtlety of timbre in 'La Danse de Puck' and in 'Brouillards', its undulations as smooth as velvet. Chaplin responded to the bewitchment of these pièces with a touch that was both sensitive and refined. The absolute, icy silence of 'Des pas sur la neige' was rendered most effectively, before the pianist attacked 'Ce qu'a vu le vent d'ouest' with brio, in a swirl of rich sforzati. 'La cathédrale engloutie' was full of profound spirituality and discreet brilliance. [...]

Finally, with a rich palette of sound, ranging from an admirably subtle pianissimo to a bright, sparklmg fortissimo, he brought out ail the force and sumptuousness of'Feux d'artifice'.

Chaplin's playing combines poetry and intense passion, nobility and ardent lyricism, with an admirable mastery of form. His performance of Chopin was a joy: his technique and style are truly in their élément in the musical world of this great Polish Romantic composer.

Rhein-Neckar Zeitung, Heidelberg, June 2000