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.

Tiberghien avoids all temptation to overlay these pieces with gratuitous flamboyance, concentrating instead on the finesse and subtle interiority they demand…Generously filled and beautifully recorded, this disc offers a fine entry point for anyone either dipping into late Liszt for the first time or giving it another try.

…His playing is of a burning commitment and intensity. This is extraordinary music and few other pianists have captured its pain and disquiet more vividly or eloquently. Hyperion’s sound is superb and even when compared to, say, Lazar Berman’s justifiably celebrated recording, Tiberghien is supreme.

A masterful introduction to the strange world of late Liszt.

One of the very best discs of these late works now in the catalogue.

Many of the qualities which made Tiberghien’s recent account of the Franck Violin Sonata with Alina Ibragimova so special are in evidence in this introspective and often profoundly moving programme of late Liszt, centring on dark nights of the soul: the gentle highlighting of the music’s modernity, the willingness to hold power in reserve until the music positively demands it, and the emphasis on clarity even in the densest thickets of passagework.

His selection is typically thoughtful...Each is a scaled-down tone poem, which poses its own set of technical challenges. But Tiberghien never flaunts his total command of those challenges and with an exemplary range of touch and keyboard colour, concentrates instead on these pieces purely as musical statements…[He] presents all of them as perfectly conceived miniatures that often pose more questions than they answer.

Tiberghien's execution and control are impeccable, and his interpretations are fluid and wholly at the service of Liszt's changeable expressions, whether depicting the diabolical in the Vierter Mephisto-Walzer or the calmly religious in the Angelus of Années de pèlerinage. Along the way, Tiberghien demonstrates mercurial humor in the Bagatelle sans tonalité and sublime tenderness in the Wiegenlied and En rêve, as well as a macabre lyricism in La lugubre gondola II, all while maintaining a consistent understanding of Liszt's work as a whole.