Denis Kozhukhin recital at the Kölner Philharmonie on 2 October

Denis Kozhukhin

Next Concerts

May 22, 2026

Lille, France

Shostakovich: Piano Concerto No.2 in F major, Op.102

– Joshua Weilerstein (conductor)

Venue: Théâtre du Casino Barrière, Lille

Link to the performance

May 23, 2026

Soissons, France

Shostakovich: Piano Concerto No.2 in F major, Op.102

– Joshua Weilerstein (conductor)

Venue: Cité de la musique et de la danse de Soissons, Soissons

Link to the performance

News

October 16th, 2013

On 2 October, Denis Kozhukhin stepped in to replace the indisposed Daniil Trifonov for a recital at the Kölner Philharmonie. His performance was a huge success and attracted great critical acclaim. The Kölnische Rundschau commented that “From the beginning until the second (and final) encore, Kozhukhin’s performance drew from the innermost sources of musical feeling and sensitivity, displaying a maturity which is quite extraordinary for his age… Kozhukhin offered profound sincerity and animated cheerfulness, bleak resignation and heartfelt sentiment in turns. With Paul Hindemith’s third sonata after the interval, Kozhukhin’s analytical skills came further to the fore. The overview with which he mastered the finale’s finicky double fugue commanded admiration… He is not only allowed to come back, he has to come back…”

Video

Brahms: Fantasies No. 1 in D minor

In the Press

“Ravel’s Concerto in G takes us to completely different worlds. From that suggestive, almost hypnotic evocation of Debussy, we move on to a piece full of vitality, smiles, light-heartedness and, as its author intended, fun. Exultant fun from beginning to end, with hardly any respite, barely in the second movement, which never ceases to smile charmingly, albeit in a calmer way. Music that fits like a glove to the vitalistic nerve of the French maestro, who put all the rhythmic voltage into a vibrant accompaniment for the Russian soloist Denis Kozhukhin, who in turn demonstrated his excellent level once again.

As has been appreciated on previous occasions, the Russian’s sound is beautiful and has sufficient presence, although it does not dazzle. He shades beautifully and handles the pedal with general restraint, only occasionally overstepping that balance. He translated the fast-paced score apolloniously and with impeccable momentum, with a good dose of panache and fantasy, very successful realisation of the music’s jazzy resonances, and enviable intensity, connecting very well with the baton in a reading in which the rhythmic energy shone through.”