Cédric Tiberghien

Piano

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Mozart: Violin Sonatas Volume 4

Mozart: Violin Sonatas Volume 4


Mozart:

Violin Sonata No. 26 in B flat major, K378

Violin Sonata No. 11 in Eb major, KV26

Violin Sonata No. 13 in C, K28

Violin Sonata No. 8 in F major, K13

Violin Sonata No. 20 in C major, K303

Six Variations in G minor on 'Hélas, j'ai perdu mon amant', K360

Violin Sonata No. 3 in B flat major, K8

Violin Sonata No. 25 in F major, K377

Violin Sonata No. 30 in C major, K403

arr. Maximilian Stadler


This is a series which continues to redefine the standards by which these works should be performed. As before, the music spans most of Mozart’s life, from 1763—when he was just seven years old—to 1782, and (another) unfinished present written for his new wife Constanze.

“Performers and engineers alike have made sure that the one instrument doesn’t swamp or outshine the other, and that neither is unduly spotlit. It all sounds and feels utterly natural...The whole enterprise is near-impossible to fault. Six sonatas left now to complete the cycle, a set that will surely become the modern reference recording.” Gramophone Magazine, Awards Issue 2017

“If I sometimes wanted Ibragimova to play out more, that’s because I like her playing so much... it’s striking how the childhood pieces aren’t put out of countenance by the later ones. Aged seven, Mozart is already inventive, confident and playful.” Sunday Times, 24th September 2017

GGramophone Magazine

Editor's Choice - Awards Issue 2017

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Mozart: Violin Sonatas Volume 3

Mozart: Violin Sonatas Volume 3


Mozart:

Violin Sonata No. 12 in G major, K27

Violin Sonata No. 16 in B flat major, K31

Violin Sonata No. 17 in C major, K296

Violin Sonata No. 23 in D major, K306

Violin Sonata No. 32 in B flat major, K454

Violin Sonata No. 36 in F major, K547 'For Beginners'


The third of the ongoing series from the ‘nigh-on ideal’ partnership (Gramophone) of Alina Ibragimova and Cédric Tiberghien. As before, the programme mixes the early—two works by the precocious ten-year-old—with the mature, and includes Mozart’s final violin sonata.

“This is developing into a delightful series – Vol 3 sees Alina Ibragimova and Cédric Tiberghien find immense charm and character in these sonatas from across Mozart’s life. Tiberghien and Ibragimova come close to my ideal Mozartian duo, in performances that further whet the appetite for the rest of the series.” Gramophone Magazine, April 2017

“They don’t patronise the 10-year-old’s works — the allegro of No 16 (B flat major) sparkles in their mercurial hands — but they reserve their finest playing for No 23 (D major) and Mozart’s last sonata for this combination in F, No 36.” Sunday Times, 3rd April 2017

“once again it is hard to imagine a better partnership. Each of the six works in this double CD programme is a pure delight, with exquisite playing from these world-class performers – Ibragimova fleet and lithe, Tiberghien playfully delicate.” The Observer, 2nd April 2017 *****

“it is difficult to image this wonderful score more exquisitely played or radiantly engineered.” BBC Music Magazine, May 2017 *****

“Ibragimova introducing some playful interpolations into the Allegro of K31. Both players skilfully characterise its tempo di menuetto variations. Ibragimova adding subtleties of nuance and rubato and occasionally taking some of the limelight. Her silky-toned, lyrical playing in the expressive central movement of K306 is an aural delight, and both protagonists revel in the humour, drama and sheer invention of the ensuing operatic finale.” The Strad, June 2017

GGramophone Magazine

Editor's Choice - April 2017

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Hyperion Ibragimova & Tiberghien Mozart Violin Sonatas - CDA68143

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Bartók: Sonata for two pianos and percussion

Bartók: Sonata for two pianos and percussion

& other piano music


Bartók:

Piano Sonata, BB 88, Sz. 80

3 Hungarian Folksongs from Csik, BB 45b, Sz. 35a

Sonatina, BB 69, Sz. 55

3 Rondos on Slovak Folk Tunes, BB 92, Sz. 84

3 Studies, BB 81, Sz. 72, Op. 18

Sonata for Two Pianos & Percussion, BB 115, Sz. 110

with François-Frédéric Guy (piano), Colin Currie (percussion), Sam Walton (percussion)


A welcome return to the piano music of Béla Bartók and a programme which includes the popular Sonatina, the aggressively experimental Op 18 Études and the Piano Sonata of 1926, the composer’s ‘year of the piano’. Cédric Tiberghien is then joined by François-Frédéric Guy, Colin Currie and Sam Walton for the Sonata for two pianos and percussion—a high-spirited conclusion to this successful mini series.

“Tiberghien meets all the technical challenges in these pieces with seeming effortlessness. His touch is pellucid, and he knows ho to bring out the charm of Bartók’s arrangements; every grace note is given due weight; and the sustaining pedal is used to make simple effects more resonant; when Bartók’s games with tonatlity grow complex, he renders them with relaxed playfulness.” BBC Music Magazine, May 2017 *****

“In the Sonata for Two Pianos and Percussion, Tiberghien is joined by François-Frédéric Guy, Colin Currie and Sam Walton: the result is the best version in excellent digital sound available; indeed the recording quality is top-drawer throughout, the piano(s) perfectly caught.” classicalsource.com, July 2017 *****

“Bartok’s piano idiom, generally less resonant than, say, Liszt’s or Chopin’s, oddly benefits from the stylistic amplification lent by other instruments: a thought provoked by this fine account with François-Frédéric Guy and the percussionists Colin Currie and Sam Walton.” Sunday Times, 5th March 2017

“The French pianist has saved some of Bartók’s most straight-up tuneful material for last...through it all, the angular and the earthy, he has a way of making Bartók’s rhythms sound simultaneously stretchy, precise and personal.” The Guardian, 16th February 2017 ****

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Bel Canto: Tamestit & Tiberghien

Bel Canto: Tamestit & Tiberghien

Voice of the Viola


Bellini:

Casta Diva (from Norma)

Donizetti:

Il faut partir (from La fille du régiment)

L'ai-je bien entendu?… O mon Fernand (from La Favorite)

Mazas:

Le Songe - Elégie on La Favorita by Donizetti, Op. 92

Ney:

XVe Prélude for solo viola

Vieuxtemps:

Viola Sonata in B flat, Op. 36

Elegie for viola and piano, Op. 30

Capriccio in C Minor, 'Hommage à Paganini,' Op. 55


Antoine Tamestit (viola, Stradivarius 'Mahler' 1672) & Cedric Tiberghien (Steinway piano)

Going well beyond mere historical interest, this album unveils the charms of a repertoire that delighted Parisian concert halls and salons throughout the 19th century. It demonstrates how the viola finally emerged from the violin’s shadow thanks to virtuoso playing, now resuscitated by the talent of Antoine Tamestit and Cédric Tiberghien in pieces which offer much more than the exquisite languors of bel canto. Italian for 'beautiful singing' or 'beautiful song', the term remains vague and ambiguous but is commonly used to evoke a lost singing tradition; in this case the famed singing tone of Antoine Tamestit's viola, a 1672 Stradivarius, loaned by the Habisreutinger Foundation.

Born in Paris, Antoine Tamestit studied with Jesse Levine at Yale University and with Tabea Zimmermann. He has won several coveted prizes including the William Primrose Competition, first prize at the Young Concert Artists (YCAT) international auditions, a place on BBC Radio 3’s New Generation Artists Scheme and a Borletti-Buitoni Trust Award.

Antoine Tamestit’s distinguished discography includes Berlioz’s 'Harold en Italie', which was recorded with the London Symphony Orchestra and Valery Gergiev and released in 2015 by LSO Live. For Naïve he has recorded three of the Bach Suites, Hindemith solo and concertante works recorded with the Frankfurt Radio Symphony Orchestra and Paavo Järvi, and an earlier recording of 'Harold' with Marc Minkowski and Les Musicians du Louvre.

This particular diva is the viola; its servant is Antoine Tamestit, here making his first solo recording for harmonia mundi.

“Tiberghien's nimble accompaniments are always a joy, but even a peek from Tamestit's viola throws them in the shade. Down in the depths, Tamestit's notes have the gruff tones of a hungry bear. Further up, they're honey-coated, though sunburnt melancholy is never far away.” BBC Music Magazine, August 2017 ****

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Martinu: Violin Concerto No. 2

Martinu: Violin Concerto No. 2


Martinu:

Concerto for Violin and Orchestra No. 2, H. 293

Serenade No. 2 for Two Violins & Viola, H. 216

Toccata & due canzoni, H. 311


Commentators have so often confined themselves to describing Martinu's music in terms of multiple influences – French music, the 18th-century concerto grosso – that they have tended to forget his own strong personality and his perfect assimilation of Baroque style. The three works presented on this recording display the Czech composer's endless creativity within the framework of a vivid concertante language.

Harmonia Mundi Musique d'Abord - HMA1951951

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Bartók: Mikrokosmos Book 5

Bartók: Mikrokosmos Book 5

& other piano music


Bartók:

Romanian Folk Dances for piano, Sz. 56, BB 68

14 Bagatelles, BB 50, Sz. 38

Allegro barbaro, BB 63, Sz. 49

Improvisations on Hungarian Peasant Songs, Sz. 74, Op. 20

Mikrokosmos Book V


This second album in Cédric Tiberghien's highly praised survey reveals the radicalism of Bartók's piano-writing to be just as evident in the early Bagatelles as it is in the lexicon of style and technique which is the fth book of Mikrokosmos.

“Magic moments are plentiful...One feels the weight of Tiberghien’s thought in every phrase, yet the sense of easy flow is paramount.” Sunday Times, 6th November 2016

“Intimate and poetic, this pianism which delicately suggests rather than making statements. A lovely hour and a quarter.” BBC Music Magazine, December 2016 ****

“it’s a measure of the quality of Cédric Tiberghien’s series that it promises to rival Kocsis’s set when complete...Tiberghien catches the essence of each piece instantly, and brings to all of them a sense of freshness and discovery, as well as the ability to combine expressive freedom with rhythmic precision in a remarkable way.” The Guardian, 17th November 2016 *****

“A fine programme overall, much to be recommended” Gramophone Magazine, November 2016

“Beautifully recorded … beautifully played.” MusicWeb International, 9th December 2016

GGramophone Awards 2017

Shortlisted - Instrumental

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Mozart: Violin Sonatas Volume 2

Mozart: Violin Sonatas Volume 2


Mozart:

Violin Sonata No. 24 in F major, K376

Violin Sonata No. 10 in B flat major, K15

Violin Sonata No. 29 in A major, K402

Violin Sonata No. 1 in C Major, K6

Violin Sonata No. 14 in D major, K29

Violin Sonata No. 4 in G major, K9

Violin Sonata No. 2 in D major, K7

Violin Sonata No. 22 in A major, K305


The earliest music here dates from when Mozart was just six years old, the latest from his first years as a freelance composer resident in Vienna. The distinguished advocacy of Alina Ibragimova and Cédric Tiberghien, in a second volume of the complete violin sonatas, is equally persuasive in both.

“The balance between pianist Cédric Tiberghien and violinist Alina Ibragimova on this recording is as beautifully calibrated as always in this long-standing partnership, but here, unusually, it is Tiberghien’s poised, lyrical piano playing that is, more often than not, to the fore…there is something to raise a smile in every single movement” The Guardian, 26th May 2016 *****

“Tiberghien and Ibragimova palpably delight in their opportunities for witty repartee…cultivating light, limpid sonorities (violin vibrato used only for occasional effect), the pair shade and phrase imaginatively without compromising the music’s essential innocence” Gramophone Magazine, October 2016

“Superbly poised and wonderfully characterful performances.” MusicWeb International, 4th January 2017

“ Tiberghien’s limpid phrasing, radiant cantabile and velvety, cushioned tone provides a continual source of pleasure, complemented ideally by Ibragimova’s silvery-toned exploratory zeal, as she delights in Mozart’s gentle textual interplay, as though discovering its special qualities for the first time.” BBC Music Magazine, May 2017 *****

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Hyperion Ibragimova & Tiberghien Mozart Violin Sonatas - CDA68092

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Brahms: Hungarian Dances

Brahms: Hungarian Dances


Brahms:

Klavierstücke (8), Op. 76

Waltzes (16), Op. 39

Hungarian Dance No. 1 in G minor

Hungarian Dance No. 2 in D minor

Hungarian Dance No. 3 in F major

Hungarian Dance No. 4

Hungarian Dance No. 5

Hungarian Dance No. 6 in D flat major

Hungarian Dance No. 7

Hungarian Dance No. 8 in A minor

Hungarian Dance No. 9 in E minor

Hungarian Dance No. 10 in F major


The product of close study of Gypsy folklore, the Hungarian Dances were originally destined for piano four hands; they were subsequently orchestrated, but Brahms himself also made a reduction for piano solo. Cédric Tiberghien completes his programme with the eight Piano Pieces op.76, and the 16 Waltzes op.39, which offer a highly personal vision of the genre, in the tradition of Schubert and Schumann.

Harmonia Mundi Musique d'Abord - HMA1952015

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Mozart: Violin Sonatas Volume 1

Mozart: Violin Sonatas Volume 1


Mozart:

Violin Sonata No. 5 in B flat major, K10

Violin Sonata No. 9 in C major, K14

Violin Sonata No. 15 in F major, K30

Violin Sonata No. 18 in G major, K301

Violin Sonata No. 21 in E minor, K304

Violin Sonata No. 27 in G major, K379

Violin Sonata No. 33 in E flat major K481


Read Presto's complete review of this disc here

Mozart’s violin sonatas span his entire career—the early ones are billed as piano sonatas with optional violin accompaniment—and they develop over the years into the first triumphs of the modern genre. Alina Ibragimova and Cédric Tiberghien have been enthralling audiences worldwide with these works, and now the first instalment is available as a highly desirable 2-for-1 album.

“It would be hard to imagine more persuasive performances than we have here from the ever-rewarding Tiberghien-Ibragimova duo: delicate without feyness, rhythmically buoyant..., and never seeking to gild the lily with an alien sophistication.” Gramophone Magazine, May 2016

“The fluidity of the partnership between Ibragimova and Tiberghien is key to the success of this album – in the earlier works the piano is to the fore, while in the others the balance swings more towards the violin, and in each case they’ve evidently thought about where the right midpoint lies between the two extremes.” David Smith, Presto Classical, 29th April 2016

“It is difficult to imagine [these sonatas] better played” BBC Music Magazine, June 2016 *****

“This set is captivating, and true to Mozart’s spirit” MusicWeb International, 6th June 2016

Presto Disc of the Week

29th April 2016

Presto Discs of 2016

Finalist

GGramophone Magazine

Editor's Choice - May 2016

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Hyperion Ibragimova & Tiberghien Mozart Violin Sonatas - CDA68091

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Bartók: Mikrokosmos Book 6

Bartók: Mikrokosmos Book 6


Bartók:

Mikrokosmos Book VI

Piano Suite, BB 70, Sz. 62, Op. 14

Out of Doors, Sz. 81, BB89

Hungarian Peasant Songs for piano (15), BB 79, Sz. 71

Three Burlesques, Op. 8c, Sz. 47, BB55


The remarkably gifted French pianist Cédric Tiberghien turns to the music of Béla Bartók in a wide-ranging programme including the famous Op 14 Suite and the sixth (and final—most ferocious in its technical demands) book of the Mikrokosmos project.

“one of the most remarkable aspects of Tiberghien's interpretations is that they are refreshingly free of those aggressive arracks that used to pass for 'Bartok style'. He never overplays, yet there's ample dynamic variety, scrupulous attention to articulation and plenty of rhythmic verve…[he] is clearly a committed Bartok player, whose fresh ideas are remarkably consistent with the letter and spirit of the Hungarian master” Gramophone Magazine, April 2016

“Tiberghien has an expressive way with Bartók. Even in music that often uses the piano as a percussive instrument, his attack is never angular or dry; instead, it’s warm, personal and spacious, with a flux to the rhythms that sounds totally organic...Tiberghien is capable of magicking up vivid character within seconds.” The Guardian, 24th March 2016 *****

“Tiberghien mixes fiery flair with charm and poetry in his readings of the final volume, and his beautifully coloured playing is equally compelling in the rest of the programme.” Sunday Times, 10th April 2016

“Possessing an instinctive feel for impressionism, and for the ebb and flow of those rhythms with their little hesitations and sudden rushes forward, Cédric Tiberghien is ideally fitted for this task…the chief glory of this recording lies in what Tiberghien does with the Peasant Songs and the sixth book of Mikrokosmos. Each of the songs is sharply characterised, and the pulse throughout follows the heartbeat” BBC Music Magazine, June 2016 *****

“I enjoyed this recital immensely” MusicWeb International, 10th June 2016

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