Cédric Tiberghien’s Brahms recital straddles, and sometimes crosses over, a thin line between interpretive freedom and mannerism. Some of his tempo fluctuations convince in Op. 76, notably in the sense of urgency and steadfast linear tension underscoring the first and fifth pieces’ agitato mood. By contrast, No. 2’s mincing italicizations, capricious speed-ups and slow-downs, and artificial accents add up to a musical caricature. When Tiberghien plays simply and directly, as with several of the Op. 39 Waltzes, his fondness for illuminating bass lines and inner voices rings true, but not when he fails to establish a basic pulse in Nos. 1 and 2, or imposes little rhythmic hiccups in No. 11. The same holds true when Tiberghien allows the more lyrical Hungarian Dances’ melodic charm to speak for itself (No. 3, for instance). However, he often imposes odd stresses and phrase elongations that make little idiomatic or musical sense (Nos. 2 and 6). In other words, Julius Katchen’s joyful abandon and characterful flair remains unchallenged. Harmonia Mundi provides Tiberghien with the best engineering he’s had to date.
