‘Tiberghien is an expert guide. He is a sensitive and fastidious player who never forces his tone and is discreet with his use of the sustaining pedal. He can also bring out massive climaxes when required—he also plays Brahms. He shapes and moulds the sometimes bald and bleak writing, which is at times in just single notes, and takes us into the heart of the world of late Liszt. There is nothing routine about his playing. This is a most impressive recital … I cannot think of a better introduction to late Liszt. Very strongly recommended’ (MusicWeb International)» More

„Die Wasserspiele der Villa d'Este, ein Angelus-Läuten und die Trauergondel … dem Spätwerk von Franz Liszt versteht sich derzeit wohl kaum ein Pianist so betörend empfindsam zu nähern wie Cédric Tiberghien“ (NDR Kultur, Germany)

‘The choir’s 30-plus members give Phillips the heft this music requires … Phillips pounces on all the details that matter: dissonances crunch satisfactorily , imitative points are tightly nested, and light streams through thick homophony. The subtlety with which Phillips builds ever so slowly to the climactic final bars of the double-choir Laudate pueri is masterful. The choir is fresh-sounding and its ensemble is assured’ (BBC Music Magazine)

‘The combined vocal and instrumental contributions of Amici Voices get right inside the music. Their success is all about sustainably good judgement in knowing what really matters in communicating the essence of these exquisitely crafted cantatas. The highlight [of BWV182] is Helen Charlston’s mesmerising delivery of ‘Leget euch’ … lovingly accompanied by the flautist Ashley Solomon … in sum, this is as thoughtfully executed a Bach programme as you could possibly imagine. Most of all, it rings with truth and warms the heart’ (Gramophone)

‘What a relief … to encounter Garrick Ohlsson's captivatingly immersive take on these glorious pieces, which in terms of its emotional thrust recalls the all-encompassing Julius Katchen … one of the finest Brahms recitals of recent years’ (BBC Music Magazine)

‘Its opening movement seethes and surges in Natalie Clein’s performance [of the Clarke], moving in sweeping arcs of emotion. The middle movement spits and snaps, and you feel the visceral rasp as Clein digs deep into the strings seeking maximum purchase. The huge tremolando crescendo in the finale has an elemental quality in Clein’s and pianist Christian Ihle Hadland’s hands … [Bridge’s Cello Sonata] draws particularly heartfelt playing from Clein and Hadland in the lingeringly regretful opening of the second movement’ (BBC Music Magazine)

„Tiberghiens technisch herausragendes, auf einem Yamaha-Flügel sehr klar formuliertes, sensibles und oft meditatives Spiel, seine Farbmischungen, sein wunderbares Nuancieren, als das macht aus dieser Aufnahme etwas ganz Besonderes, zumal weil jedes Gefühl echt und tief empfunden wirkt und nicht sentimental aufgesetzt. So zeigt er deutlich, wie sich Liszts Musik in den ‘Années de pèlerinage 3’ deutlich in eine Richtung bewegt, an die Debussy und Ravel anknüpfen sollten. Kein Zweifel also: Tiberghien legt mit dieser Einspielung ein ungemein kohärentes und wunderbar interpretiertes Liszt-Programm vor“ (Pizzicato, Luxembourg)

„Der künstlerische Ernst, mit dem er einige dieser letzten Klavierwerke Liszts sowie den dritten Band der „L’Années de pèlerinage“ angeht, das feine Klangsensorium, das er für diese Musik entwickelt, überzeugt, ja begeistert in jedem Takt“ (Musik & Theater, Switzerland)

‘Tiberghien’s playing in these late works may be the most beautiful you have ever heard’ (The Whole Note, Canada)» More

‘Tiberghien’s quasi-improvisatory approach works marvellously with works which would otherwise risk sounding directionless and self-indulgent. His range is breathtaking, carefully terraced even in the thickest of textures, never harsh, abrupt, metronomic or bombastic, even when rumbling in the murkiest depths of the piano’s range’ (BBC Music Magazine)

‘This appealing collection of love songs is an apt celebration, plucking tracks from five different albums by the group recorded during the last ten years … beautifully performed and with an appealing blend of popular hits and more unusual fare, this disc makes for an uplifting listen’ (BBC Music Magazine)

‘There is a great deal to delight the listener, particularly in the First Piano Trio in E minor of 1877 … the Leonore Piano Trio's winsome performance of this engaging movement [the second] is what has made me return with pleasure to this altogether attractive work … [No 3's] subtle, reflective and sometimes wistful style grows on one with repeated listening. The Leonore Piano Trio play the work with affection, as does their violinist Benjamin Nabarro and pianist Tim Horton the Partita in D minor’ (BBC Music Magazine)» More