François Chaplin performs the complete set of Chopin's nocturnes on a Grand piano de concert Yamaha
François Chaplin was noticed by the critics and the audience with a complete recording of Debussy's piano pieces released by Arion between 2000 & 2005 "With what is needed of distance, distinction and of calm ecstasy for the essentially aristocratic art of Claude de France… a complete recording which will mark the recent debussy discography." Gilles Macassar Télérama 2005.
Daniel Shafran is generally considered to be a romantic artist. Indeed, the 19th century music — Schubert, Schumann & Brahms — is projected by him with great inspiration. However, this feature of his reveals itself no less vividly in his interpretations of contemporary music. Whatever D. Shafran plays we always feel an amazing "liberation of human spirit", "real freedom" which F. Schelling thought to be the foundation of romantic perception of the world.
Pavel Egorov is a Russian pianist and scholar. He won the VI Robert Schumann Competition before graduating in 1975 from the Moscow Conservatory. He has performed widely at an international level since (ca. 3000 performances). He is a professor and the Head of the Piano Department at the Saint Petersburg Conservatory, where he has taught since 1980. Pavel Egorov was named a Meritorious Artist of the Russian Federation, and is a member of the Russian Academy of Sciences's Saint Petersburg branch, and an Honorary Member at the Robert Schumann Society in Düsseldorf and the Saint Petersburg Philharmonic Society. The scientific editor of the first Russian edition of Robert Schumann's complete piano works (Muzyka, 1986), he was awarded the Düsseldorf Schumann Prize in 1989.From Wikipedia, the free encyclopedia
Boris Zobin was born in 1976 in Leningrad (Saint Petersburg), Russia…
In 1997, Boris immigrated to Israel…
Nowdays Boris is teaching in Rehovot Municipal Conservatory.From the Disk cover
Chopin's two piano concertos have long been admired more as pianistic vehicles than as integrated works for piano and orchestra. But in his revelatory new recording, Krystian Zimerman suggests otherwise: The opening orchestral tuttis have so much more light, shade, orchestral color, and detail, you wonder if they've been rewritten. Every gesture, every instrumental solo is so specifically characterized that by the time the piano makes a dramatic entrance, the pieces have become operas without words.