Piano

Cédric Tiberghien

© Jean-Baptiste Millot

Introduction

Cédric Tiberghien’s career spans five continents taking him to some of the world’s most prestigious concert halls, including, Carnegie Hall, the Royal Albert Hall, Queen Elizabeth Hall, Wigmore Hall and Barbican in London, the Salle Pleyel and the Theatre des Champs Elysees in Paris,  Salzburg’s Mozarteum, the Sydney Opera and Tokyo’s Bunka Kaikan and Asahi Halls.

Highlights of the current season include return projects with the Cleveland Orchestra, Hong Kong Sinfonietta, BBC Scottish Symphony and City of Birmingham Symphony Orchestras; and an extensive residency with the Orchestre de Bretagne which will see Cédric direct the orchestra from the piano in concertos by Mozart as well as concerto performances by Saint-Saens and Mendelssohn and a chamber project with the orchestral wind principals.

Cédric TIberghien recently made his debut with the London Symphony Orchestra and his recital debut at the Vienna Konzerthaus and Kumho Art Hall in Seoul.

During season 15/16, Cédric presented a major focus on the music of Bartok and culminated in a three-volume exploration of Bartok’s solo piano works and has been met with critical enthusiasm;

“He never overplays, yet there’s ample dynamic variety, scrupulous attention to articulation and plenty of rhythmic verve. Tiberghien combines intellectual objectivity with a strong sense of Bartók’s deeply rooted kinaesethetic impulse and essential earthiness.” (Gramophone, April 2016)


Contact


Performance Schedule

Performance Schedule

From The Green Room

  • 17 May 17 Saint-Saëns - Concerto no. 5 City of Birmingham Symphony Orchestra
    Birmingham
    More info  

    “Cédric Tiberghien, the CBSO with him every step of the way, gave a colourful, dashing performance; the soloist negotiated all the athletic demands of the music with aplomb.”

    Seen and Heard International

  • 22 Apr 17 Etudes Solo recital
    Elbphilharmonie, Hamburg
    More info  

    “Dafür wurde die penible Sorgfalt, mit der er gerade die leisen und feinen Töne in die Tasten tupfte, umso deutlicher. Tiberghien ist ein Klangfarbenzauberer am Klavier. Bei ihm geht es darum, wie stark eine Mittelstimme aus einem Akkord herausleuchtet, welche Obertöne verstärkt werden, wie der Bass samtig abgedämpft wird.”
    Hamburger Abendblatt

  • 01 Nov 16 Bartok Mikrokosmos 5 and other works
    Recording
    More info  

    Awarded a Diapason D’or

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

  • 28 Apr 16 Ravel Concerto for the Left Hand
    London Symphony Orchestra, Sir Mark Elder
    More info  
    “Tiberghien’s first entry was magisterial and soon became bittersweet… his inborn connection with the music was irresistible; the central march section was suitably macabre. The intricate cadenza (Ravel’s writing covers the whole keyboard) was slow-burn, given with rare poise and intimacy.
    This richly persuasive account was followed by a thoughtful – linking – encore, ‘La Cathédrale engloutie’ (The Engulfed Cathedral), the Tenth of Debussy’s Book I Préludes. Tiberghien, pictorial and poetic, built a parting-of-the-waves climax, and in its wake the building seemed even more submerged.”

    ClassicalSource.com

  • 30 Mar 16 Bartók Solo piano works
    Recording
    More info  

    “He never overplays, yet there’s ample dynamic variety, scrupulous attention to articulation and plenty of rhythmic verve. Tiberghien combines intellectual objectivity with a strong sense of Bartók’s deeply rooted kinaesethetic impulse and essential earthiness.”
    Gramophone, April 2016

    “Tiberghien is capable of magicking up vivid character within seconds… He turns the Fifteen Hungarian Peasant Songs into muscular little vignettes, the vivacious third Burlesque into a perfect Debussy-esque shimmer, and finds huge personality in every corner of the fiendish last book of Mikrokosmos.”
    Guardian, March 2016

    “Avec ces climats variés, tantôt poétiques, tantôt entraînants, toujours réussis, cet enthousiasmant disque de Cédric Tiberghien, premier d’une série qui devrait en comporter trois, s’impose comme une réussite de premier plan qui se déguste comme un plateau gourmand de mignardises, et pourra même, selon nous, constituer une excellente introduction à l’univers richement bigarré de Bartók.”

    Le Babillard

  • 24 Nov 15 Bartok, Boulez Solo recital
    Wigmore Hall
    More info  

    “Each Bartók piece was superbly characterised, with plenty of wit in the middle of the Three Burlesques, entitled A Bit Drunk. Tiberghien made the Allegro barbaro live up to its title and, after the interval, he seized on Book Six of Mikrokosmos… The pianist delivered the skittish, jazzy riffs of Six Dances in Bulgarian Rhythm with brilliant aplomb and attack.”
    The Telegraph

  • 03 May 15 Solo recital: Chigaco Symphony Presents
    Symphony Center
    More info  

    ‘His Debussy – four preludes from Books 1 and 2, “Masques,” “D’un cahier d’esquisses” and “L’isle joyeuse” – revealed a penetrating musical intelligence and an acute sensitivity to nuance. Pages of slow, hushed meditation gave way to explosions of finely controlled bravura, nowhere more mesmerizing than in “L’isle joyeuse.”‘
    Chigaco Tribune

    “Tiberghien sumptuously sustained the protracted melodic lines around Ravel’s busily shimmering accompaniment, which he never allowed to become intrusive. His broad dynamic range shone through between the thundering climax that represents the water nymph’s amorous rapture and a graceful diminuendo as she returned disappointed to the waves”.
    Chicago Classical Review

  • 06 Mar 14 Saint-Saëns Concerto no. 2
    Orchestre National de France, Ludovic Morlot, Théâtre des Champs-Elysées
    More info  
    Cédric Tiberghien est assurément l’un des meilleurs pianistes actuels, construisant pas à pas une carrière et une discographie exemplaires. Dans le Concerto n°2 de Camille Saint-Saëns, il déploie une grande variété de touchers qui lui permettent de trouver le ton juste dans cette œuvre toujours délicate à cerner et facile à desservir.

    resmusica.com

    Cédric Tiberghien fut tout à fait extraordinaire. Dès la longue introduction dévolue au soliste, il impose son jeu grave et recueilli. La technique est impeccable et la musicalité, que l’on remarque notamment dans plusieurs passages de l’Andante sostenuto, tout aussi renversante

    concertonet.com

    Cédric Tiberghien est un pianiste extraordinaire. Son toucher est subtile, et son jeu fougueux à souhait.

    toutelaculture.com

  • 24 May 14 Mozart Piano Concerto no. 17 K453
    Orchestre des Pays de Savoie, Grange au Lac, Evian
    More info  

    “(Le Concerto No.17 de Mozart) révèle une richesse et une diversité d’humeurs que le soliste exploite avec une intelligence et un sens du cantabile qui signalent un mozartien de premier ordre. Sous ses doigts, le texte musical prend vie avec un relief opératique. Et avec quel art et quelle justesse des couleurs sonde-t-il – et fait-il chanter –  les si émouvants secrets de l’Andante médian. Tout est dit, avec la plus parfaite simplicité, et dans une complicité et un dialogue permanents avec le chef.”
    Alain Cochard, concertclassic.com

  • 19 Feb 14 Recital, February 2014
    Boston Celebrity Series
    More info  

    “Tiberghien’s technique is formidable, but it’s his intensity and poetic impulsiveness that catch the ear.”
    Boston Globe

    “While eliciting admiration for technical prowess, Tiberghien’s cavernous piano primarily played the role of storyteller, of tone painter possessing rare insight. The confined stereotyping of Liszt as virtually virtuoso stuff, here thoroughly dispelled.”
    Boston Musical Intelligencer

  • 01 Feb 14 Szymanowski Études & Masques
    Recording
    More info  

    “Few players of this music combine such clarity and articulation with shimmering sparkle and virtuosic flair; this is sophisticated pianism”
    BBC Music Magazine, April 2014

    “His quite extraordinary tonal palette and acute observation of the composer’s fastidious notation are beyond reproach, a masterclass in refined virtuosity.”
    Gramophone Magazine, April 2014

    “Au-delà de la virtuosité, les Etudes op 33  s’apparentent bien à des pièces d’atmosphère, à des improvisations fantasques où Tiberghien sait creuser du mystère.”
    Diapason

  • 05 Jan 14 Greig Piano Concerto
    Hamburger Symphoniker, Jeffrey Tate
    More info  

    “Er hat Kraft und Präzion in den Fingern und blieb auch in der Hingabe an das Sanfte, Zerbrechliche, groß Romantische völlilg unsenitmental. Einzelnen Figuren und Tönen verlieh er mithilfe eines manchmal eztremen, doch stets schlüssig wirkenden Diminuendos Bedeutung. Noch die leisesten Töne hatten Kern und Kontur. Tiberghien behielt einen schönen Flow.”
    Hamburger Abendblatt 6 January 2014

  • 31 Aug 13 Recital, July 2013
    Koerner Hall, Toronto
    More info  

    “In his Toronto debut at Koerner Hall on Tuesday night, French pianist Cédric Tiberghien proved that the greatest storytellers do not shout, but speak softly. There are few pianists in the world who can play as softly yet clearly as he did in a program that mixed French and Austrian repertoire for the Toronto Summer Music Festival. (…) It is truly rare to find a pianist who can juggle three even four separate lines of music at the same time, giving each a slightly different emphasis and colour. It made the four pieces by Debussy (two from the official program, two as encores) shimmer, glow and undulate with uncommon sensuousness. (…) both exemplary singer and sensitive accompanist rolled into one dazzling set of 10 fingers
    The Star

  • 27 Jul 13 Saint-Saens Piano Concerto No. 2
    Blossom Festival, Cleveland Orchestra
    More info  

    “An apparent natural with Saint-Saens, Tiberghien had a lock on all the score’s most fetching traits, channelling both its innocence and its volatility. To the work’s playful skittishness, the pianist brought a fantastically light, spidery touch, and where the music turned dark and thunderous, Tiberghien too morphed into a brooding, rapturous poet.”

     

    The Plain Dealer

    The first movement became a vast cadenza with dramatic orchestral punctuation that Tiberghien seemed to be creating on the spot — like a ruminative improvisation by an organist (a role Saint-Saëns filled for 19 years at L’église de la Madeleine). The second movement scherzo was gentle and spacious, the third a combustible tarantella. Tiberghien played with lucidity and flexibility, handsomely varying his tone to suit the mood of the moment.”
    Cleveland.com 

  • 01 Mar 11 Concert March 2011
    National Symphony Orchestra, Washington
    More info  

    “Cédric Tiberghien’s mastery of Messiaen’s piano part was passionate and impressive, at times dominating the orchestra, at other times weaving in and out of the orchestral fabric adding life and color to the finished piece.’
    Washington Times

    ‘…pianist Cedric Tiberghien, who was almost spookily unfazed by the wildest demands of the keyboard part and who summoned a great deal of color and expressive power’
    The Baltimore Sun

Repertoire

Please note: this repertoire list is for reference only. The choice of repertoire for a particular project remains at the artist’s discretion.

 

MALCOLM ARNOLD
Concerto for Four Hands Op.32

BACH
Concerto in D minor BWV 1052
Concerto in F minor BWV 1056
Concerto in C minor BWV1062
Concerto for 3 piano in C major (I)
Concerto for 4 pianos in A minor (I and IV)

BARTOK
Concerto n°2

BEETHOVEN
Concerto n°1
Concerto n°2
Concerto n°3
Concerto n°4
Concerto n°5
Choral fantasy op.80
Triple concerto

BERNSTEIN
Symphony No.2 “The Age of Anxiety”

BOESMANS
Capriccio for two pianos and orchestra

BRAHMS
Concerto n°1
Concerto n°2

CHOPIN
Concerto n°1
Concerto n°2

DEBUSSY
Fantasie for piano and orchestra

Th. DUBOIS
Concerto Capriccioso
Concerto No.2
Suite for Piano and Strings

DE FALLA
Nights in Spanish Gardens

FAURE
Ballade for piano and orchestra Op.19

FEDELE
De li duo soli e infiniti universi for 2 pianos and 2 orchestras (world premiere)

FRANCAIX
Concertino

FRANCK
Symphonic Variations
Les Djinns

GERSHWIN
Concerto in F
Rhapsody in Blue

GRIEG
Concerto in A minor

HAYDN
Concerto in D major

LISZT
Concerto n°1
Concerto n°2

MARTINU
Toccata e Due Canzone

MENDELSSOHN
Concerto n°1
Concerto for violin and piano

MERNIER (Benoit)
Piano Concerto (premiered in Brussels 01.06.08)

MESSIAEN
Des Canyons aux étoiles
Oiseaux Exotiques
Turangalila Symphonie
Couleurs de la Cite Celeste
Concert á quart

MOZART
Concerto n°9 K.271 in Eb major ‘Jeunehomme’
Concerto No.11 K.413 in F major
Concerto n°12 K.414  in A major
Concerto No.13 K.415 in C major
Concerto n°17 K.453 in G major
Concerto n°20 K.466 in D minor
Concerto n°21 K.467 in C major
Concerto No.22 K482 in Eb major
Concerto n°27 K.595 in Bb major

PROKOVIEV
Concerto n°1   16’
Concerto n°2   31’
Concerto n°3   27’

RACHMANINOV
Concerto n°3

RAVEL
Concerto in G major
Concerto for the left hand

SAINT-SAENS
Concerto N°2
Concerto No.5

SCHUMANN
Concerto
Introduction and allegro appassionato

SCRIABIN
Prometheus (Symphony No.5)

SHOSTAKOVICH
Concerto n°1 for piano, strings and trumpet
Concerto No.2

SZYMANOWSKI
Symphony No.4, Op.60 (Sinfonia Concertante)

TCHAIKOVSKY
Concerto No.1 Op.23

WISENBERG
Concerto for piano, oud and orchestra

Discography