Recitals in Liverpool, Paris and Cologne

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

September 1st, 2015

Denis Kozhukhin returns to Liverpool this month to give his debut recital on 16 September at St George’s Hall. He also returns the following week for a recital at the Auditorium du Louvre in Paris. At both venues, the programme will include Beethoven Sonatas Nos. 14 & 17, Debussy Préludes Nos. 2, 6 & 10 from Book I, three Berio Encores (Luftklavier, Feuerklavier and Wasserklavier) and Bartók Out of Doors.

On 30 September, Kozhukhin returns to give a recital at the Cologne Philharmonie, where he gave his debut recital in October 2013. This recital will include Haydn Keyboard Sonata in D major, Brahms Theme and Variations in D minor, Berg Piano Sonata and Bartók Out of Doors. After the interval, Kozhukhin will perform Haydn Keyboard Sonata in B minor and, lastly, Prokofiev Piano Sonata No.8 in B-flat major. Listen to Kozhukhin’s recordings of these Sonatas on Spotify.

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.”