Denis returns for five concerts with the Hallé Orchestra in Manchester

Denis Kozhukhin

Next Concerts

June 12, 2026

Suwon-si, Gyeonggi-do, South Korea

Brahms: Piano Concerto No.1 in D minor, Op.15

– Sunwook Kim (conductor)

Venue: Gyeonggi Arts Centre, Suwon-si

Link to the performance

June 13, 2026

Seoul, South Korea

Brahms: Piano Concerto No.1 in D minor, Op.15

– Sunwook Kim (conductor)

Venue: Seoul Arts Center, Seoul

Link to the performance

News

March 16th, 2015

Having made his debut with the orchestra last season, Denis Kozhukhin returns to the Hallé at the end of March for five performances of Prokofiev Piano Concerto No.1. Playing under the baton of Karl-Heinz Steffens, Denis gives three concerts at Manchester’s Bridgewater Hall (25, 26 and 29 March), and also at Sheffield City Hall (27 March) and Westmorland Hall, Kendal (28 March).

Also this month, Denis returns to the Louisiana Museum of Modern Art in Denmark for two concerts on 19 and 20 March. Having given solo recitals at the Museum in February 2013, he returns this time not only to perform solo works by Haydn and Brahms but also Dvořák Piano Quintet with the Pavel Haas Quartet.

Watch a video of Denis playing Prokofiev created by the Louisiana Museum.

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.”