A wonderfully empathetic and intelligent ‘piano whisperer’

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

Reviews

February 27th, 2015

Denis Kozhukhin proves himself here to be a wonderfully empathetic and intelligent ‘piano whisperer’. … Mere effects are not his thing, something which Kozhukhin makes clear from the very first note. His touch, his articulation – all is sensitively balanced and displays an almost crystalline precision. This is combined with an exceptionally discriminating and subtle use of pedal, which at most adds nuance to the sound colours of the Haydn sonatas’ finely woven motif progressions, but without blurring them… Denis Kozhukhin delights with his playing of Haydn where every detail is individually illuminated despite a variety of emphases and colours.

BR Klassik, February 2015

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.”