Sometimes I think that many young concert pianists are simply delusional. Surely they must know that, to attract the relatively small number of people who go to piano recitals and buy piano recordings, they must compete against countless other young pianists with similar training, talent, and technical endowment. To make matters worse, in the concert hall these youngsters also have to compete against the still living "giants of the keyboard", and on recordings against the living giants as well as the dead ones.
So, what does the young pianist do to improve his (or her) odds in this brutally competitive market? Does he try to intrigue you with a rare opportunity to hear a live performance of some unjustly neglected piano music of the past, say a passionate proto-Romantic sonata by Dussek or Hummel? Does he try to ignite your curiosity with a rarely heard work by an important 20th century composer, such as the melancholy first sonata of Roger Sessions, or one of Stockhausen's haunting Klavierstucke , or perhaps Elliott Carter's moody Night Fantasies? Hell no! He expects you to spend your time and money to attend a recital whose program consists entirely of pieces that have been played and recorded ad nauseam by just about every great, almost-great, and far-from-great pianist of the century. A typical example is Cedric Tiberghian's recital in Hohenems (May 21, 2011), where he played Beethoven's Moonglight Sonata, Ravel's Gaspard, and Schumann's Kresleriana.
Now let me get this straight: The young pianist expects me to dress up, drive across town, pay for parking, pay for tickets, sit for two hours in the auditorium, and then take a long drive back home - all for the privilege of hearing the fucking Moonlight Sonata played by some sultry-looking, carefully groomed, and fashionably attired skinny metrosexual twenty-something??? I would pass on this kind of recital program even if the ticket included a free backstage blowjob from the artist during the intermission. And I consider myself a fairly typical pianophile...
The point of all this is not that Cedric Tiberghien's playing of tired "masterpieces" shows him to be a bad pianist or inadequate musician. On the contrary, I think he is quite good. The problem is that there are too many other young pianists who are at least as good as he is. And most of them seem to be equally delusional in their belief that they can attain pianistic glory by starting off with recitals consisting of sorely overplayed and numbingly over-recorded segments of the piano repertoire.