Next Concerts

Sep 21, 2019

Tsinandali, GEORGIA – Tsinandali Festival

Tsinandali, GEORGIA - Tsinandali Cultural Center

Felix MENDELSSOHN: Lieder ohne Worte
Edvard GRIEG: Lyric Pieces
George GERSHWIN: Rhapsody in Blue (solo version)

Oct 8, 2019

Yerevan, ARMENIA

with Armenian State Symphony Orchestra
Sergey Smbatyan (conductor)

REVIEWS

Jul 15 2019

Album review on The Classic Review on “Grieg: Lyric Pieces / Mendelssohn: Lieder ohne Worte”

“You can’t fault pianist Denis Kozhukhin of being one dimensional in regards to his choice of repertoire. After albums with music from the 18th century (Haydn Piano Sonatas), the 19th century (Tchaikovsky and Grieg Concertos, Brahms solo music), and the 20th century (Prokofiev’s “War Sonatas” and Ravel and Gershwin Concertos), comes this release, which offers another, more intimate side to this musician.”
“Kozhukhin’s tone is magical, with each finger creating a different timbre. This is achieved by clever usage of the sustaining pedal, taking advantage of the piano’s long sustain and overtones but more than anything – his sensitive ear to the possibilities of this music.”
“One has to go back to famous accounts by Gilels and Andsnes to experience a performance of such dedication…If you care for each of these two composers, or have any preference for piano music for that matter, go and buy this album.”
Read the full review on The Classic Review.

Jul 12 2019

Album review on NDR Kultur: “Grieg: Lyric Pieces / Mendelssohn: Lieder ohne Worte”

“Kozhukhin impresses with enthusiasm and modest virtuosity as well as depth and intimacy. Especially the singing and simple pieces bring the empathetic side of the young, agile Russian to the surface.”
“Kozhukhin’s clear tone and his natural, non-obtrusive design are also well-suited for Edward Grieg’s “Lyrical Pieces”… With his many attack nuances, Kozhukhin creates a wealth of imaginary images in his head. Rarely have these works been heard so precisely and clearly. Sometimes he celebrates, even dissects every nuance, without losing sight of the big arch – and above all not the sensitivity that goes straight to the heart”

Jun 18 2019

Brahms Piano Concerto No. 1 / Royal Philharmonic Orchestra / cond. Vasily Petrenko

“Kozhukhin uses an immaculate technique to keep it all within bounds, only busting out with impressive tirades of double octaves. He’s a pianist who tunes in to what’s going on around him – that was even more evident in a fabulous performance of Prokofiev’s concertante-style Fifth Piano Concerto with Mirga Gražinytė-Tyla and the Ciy of Birmingham Symphony Orchestra in Basingstoke a month ago. To hear him build Brahms’s elaborate piano treatment of the first movement’s lovely lyrical counter-subject second time around was a masterclass in subtle musicianship. Uniquely crystalline in the Adagio’s more troubled meditation, Kozhukhin was underpinned by silky-strong cellos and basses full of presence. Petrenko knows how to manipulate atmosphere, even if the orchestral introduction nearly fell through sinkholes in its craggy landscape. What a flawless masterpiece this is, though, its endless thematic inventiveness seeming to flow from a pure spring. Kozhukhin took us right back to the source in the ineffable vanishing act of his tiny encore, Grieg’s “Arietta”, announcement of which brought a shriek of approval from what I presume was a Norwegian in the audience.”
Read the full review on TheArtsDesk.com

Jun 18 2019

Brahms Piano Concerto No. 1 / Royal Philharmonic Orchestra / cond. Vasily Petrenko

“The classical restraint of Kozhukhin’s metrical precision actually added to the touching pathos. Without pause Kozhukhin launched into the final Rondo, each episode of which was splendidly characterised. The fugal passage was especially ear-catching from the strings, in its quietly creeping Tom ‘n Jerry manner, before the pianist demonstrated just how piquant his decorated version was. The coda let loose its tight succession of exchanges between soloist and band, and this formidable work completed its heroic journey. The tiny encore of Grieg’s Arietta, which Kozhukhin announced to an alarming squeal from (I assume) one of that composer’s compatriots, was as evanescent and inconsequential as the concerto had sounded mighty and enduring.”
Read the full review on Bachtrack.com

Jun 18 2019

Brahms Piano Concerto No. 1 / Royal Philharmonic Orchestra / cond. Vasily Petrenko

“The classical restraint of Kozhukhin’s metrical precision actually added to the touching pathos. Without pause Kozhukhin launched into the final Rondo, each episode of which was splendidly characterised. The fugal passage was especially ear-catching from the strings, in its quietly creeping Tom ‘n Jerry manner, before the pianist demonstrated just how piquant his decorated version was. The coda let loose its tight succession of exchanges between soloist and band, and this formidable work completed its heroic journey. The tiny encore of Grieg’s Arietta, which Kozhukhin announced to an alarming squeal from (I assume) one of that composer’s compatriots, was as evanescent and inconsequential as the concerto had sounded mighty and enduring.”

May 23 2019

Schumann Piano Concerto / New Zealand Symphony Orchestra / cond. Thomas Søndergård

“Kozhukhin responded to the orchestra with great sensitivity and mastery, taking up the theme but also enhancing it. His playing was magical, drawing the listener in, with every phrase, every note full of meaning. It was a sensational performance. Kozhukhin rewarded the enthusiastic applause of the audience with an encore, playing Grieg’s To Spring, from his Lyric Suite (Op 43 No 6).”
Read the full review here.

May 23 2019

Schumann Piano Concerto / New Zealand Symphony Orchestra / cond. Thomas Søndergård

“Russian pianist Denis Kozhukhin is a formidable artist on all levels; a fabulous technique, a beautifully poetic instinct and a sure understanding of style. The orchestra backed him to the hilt, and his encore – Grieg’s “Spring” from his “Lyric Pieces”- showed further evidence of his mastery in a piece of great simplicity.”
Read the full review here

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