Next Concerts

Oct 24, 2019

Manchester, UK

Manchester, UK - Bridgewater Hall

with BBC Philharmonic
Joanna Carneiro (conductor)

Mendelssohn Piano Concerto No. 1

Oct 31, 2019


Paris, FRANCE - Auditorium de Radio France

with Orchestre National de France
Cornelius Meister (conductor)

Mendelssohn Piano Concerto No. 1


Mar 05 2018

Denis Kozhukhin @ Wigmore Hall, London

“His tour de force, though, was an utterly mesmerising account of Gershwin’s arrangement of his own Rhapsody in Blue for solo piano. The piece requires the touch of a master, as everything that is in the full version is there, and the pianist needs to bring out the solo piano part as well as supply the crossrhythms of the orchestra with just two hands, and Kozhukhin achieved it summa cum laude, taking some portions at breakneck speed with stunning accuracy and attack – at one point, even lifting himself off the piano stool. It was perhaps as well that his encore – a gentle and sensitive account of Grieg’s Til våren allowed the audience to get their breaths.”

Read the full review on

Feb 07 2018

Grieg: Piano Concerto / London Philharmonic / cond. Vladimir Jurowski

“Splendid presentation at Ibermúsica by Russian pianist Denis Kozhukhin, another magnificent representative of the inexhaustible Russian quarry and who offered the beautiful piano concert by Grieg. The first movement highlighted the personality, sound quality, warm and expressive phrasing, all with that exuberance typical of the Russian school, also counting on a fine accompaniment of Jurowski… The lyrical intensity, the effusion and the enveloping expression of Kozhukhin were combined with their sensitivity in the Adagio, again accompanied with exquisiteness by Jurowski. The virtuosity of the third movement with its Norwegian folk dance airs was fully delivered by the Russian pianist, vibrant and rapturous, that all together with orchestra and conductor culminated in a brilliant finale.”

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Feb 06 2018

CD Review: Kozhukhin plays Brahms

“His new recording on Pentatone, built around Brahms’s 10 Ballades and op. 116 Fantasies, demonstrates that, on disc at least, he’s more than a flash-in-the-pan sensation: Kozhukhin is…a furor pianist”

“…to hear him play is to experience some of the most thoughtful, sensitive, and focused pianism out there.”

“There’s also an intensity to Kozhukhin’s playing that doesn’t transfer to disc all that often: the inwardness of a live performance that keeps you on the edge of your seat – especially in quiet moments – is very much present here, too.”

Read the full review on

Dec 20 2017

Rachmaninov Piano Concerto No. 2 / Chicago Symphony Orchestra, cond. van Zweden

“ … Kozhukhin largely played with such innate authority, leonine command and poised yet unsentimental lyricism that he didn’t seem to be “interpreting” the music at all. Rachmaninoff’s long-limbed melodies were rendered with a supple poetic touch and natural empathy as much as Kozhukhin’s clarity and eruptive dynamism vaulted through the passages of breakout virtuosity.
The performance culminated in an exhilarating finale that led up to the final bars with mounting inexorability–the movement’s big tune given with rich resplendence in its final flowering and the race to the coda thrillingly played by Kozhukhin, van Zweden and the orchestra with their soloist every step of the way.
This was one of the rare times when the instant cheers and standing ovation were well deserved. The applause recalled the pianist back to the stage until he obliged with an encore–“La fille aux cheveux de lin” (The girl with the flaxen hair) from Book I of Debussy’s Preludes, rendered with limpid delicacy”

Dec 07 2017

Tchaikovsky Piano Concerto No. 1 / BBC Scottish Symphony Orchestra cond. Vedernikov

Denis Kozhukhin was the soloist, giving a performance of crystalline clarity that downplayed the sentimentality in favour of understated lyricism, but with plenty of bravura power where it was needed.

The Guardian

Dec 07 2017

Tchaikovsky Piano Concerto No. 1 / BBC Scottish Symphony Orchestra cond. Vedernikov

“Pianist Denis Kozhukhin has been a regular and much-admired visitor to the BBC SSO, and his account of Tchaikovsky’s well-loved First Piano Concerto was big-boned, urgent, sometimes rather breathless, but so mighty as to sweep aside any concerns. He tackled the work’s relentless virtuosity with what felt like elegant choreography, and a fair bit of rhythmic freedom too. But there was a steely determination to his playing, matched brilliantly in the Orchestra’s forthright, sharply defined playing.”

Nov 21 2017

Amsterdam Concertgebouw Recital

“For the extremely talented Russian pianist Dennis Kozhukhin (1986), born and raised in a musical family in Nizhni Novgorod, the ongoing strive for the highest possible quality is a natural goal, hard work is the way to reach that goal and success is nothing more than a pleasant addition.
After Kozhukhin, who now played for the Third time in the master pianists series, won the Queen Elisabeth Competition in 2010, he instantly became an international star without starlike airs. This Prize made it possible for him to worldwide do what he loves to do most: doing justice to the composer who’s music he is playing and searching for the “ideal balance between the emotional and the intellectual”. That this balance can be different for every musician within the same piece, is for Kozhukhin “the beauty of classical music”.

Musicality seems for Kozhukhin a natural gift, but apart from that, he is also a sharp analyst of the works he plays, and a very gifted instrumentalist. During his study at the Balakirev School of Music and later on at the Escuela Superior de Música Reina Sofia, where he was taught by, amongst others, Dmitri Bashkirov, he must have studied so hard that he has mastered the “craft” of piano playing completely. On stage, Kozhukhin seems to coincide with the music and the piano, without an ego and without placing himself in the spotlight.

But it’s really not the case that Kozhukhin has nothing to say, because it is due to his empathy, intelligence and imagination, that this pianist seems to have the secret key that provides him access  to the specific, inner richness of a score. Kozhukhin opens the gate and takes his audience with him on a fascinating musically expedition, in which time doesn’t matter, sounds become monumental architectures, style features organically shape to the rhythm and dynamics of the notes, emotions manifest themselves in a rainbow of delicate colour shades, every detail of the articulation gets clear contours, melodic lines flow like rivers and light and dark shades glide over one and other like leaves in the wind.

Inwardly Kozhukhin seems very sure of his mastering the musical matter, and he easily seem to conquer every obstacle that could work in the disadvantage of the composer he performs. He doesn’t speed up when being nervous, doesn’t show empty (meaningless) virtuosity and doesn’t scream over-emotional or hysterical what can be said in clear no-nonsense language.

For each composer, he creates its own universe, in which integrity and nobleness rule, creating a nice world to be in.

Kozhukhins striking interpretation of Händels Suite no. 7 in g, evoked the image of a abundant palace garden from the 18th century, that has lovely singing birds hidden in the rosebushes and in which a royal company is strolling through the garden looking at the rosebuds and blossoms, smelling the fresh Spring air.

A completely different mood was evoked with Kozhukhin’s dreamingly and melancholic interpretations of the 3 Intermezzi op. 117 by Brahms, in which everything evolved around  contemplation, fall-like images and the sadness of old age.

This was followed by a hallucinating interpretation of Bartok’s rarely played Out of Doors, Sz. 81, in which burlesque dances with wild and biting rhythms was alternated with fascinating vague  panorama’s in the cosmos. Kozhukhins unique colour pallet that he used for Bartok was so hypnotizing, that it sometimes seemed as if he could really reveal other dimensions present in the Concertgebouw.

Also Debussy had it’s own special sound. His 12 Préludes from Book 1 went by, like under water panorama’s, seen through a symbolic boat made of glass, pushed forward by the wind and floating on the movements of the water. That caused a dreamingly game of reflection played by the light reflecting the water surface and the breaking of this surface by shadows coming from the deep, sometimes turning out to be a silver coloured group of fishes, sometimes scary monsters, all moving under the water surface.

Kozhukhin ended his varied solo recital with a refined interpretation of Gershwins Rhapsody in Blue, which had a jazzy tempo and articulation, a sensual sound but foremost was a captivating experience due to the pleasure with which Kozhukhin played Gershwin’s ‘blue’ notes. After that he played  2 beautiful encores by Rachmaninoff and Grieg.” –

Read original (in Dutch).