Next Concerts

Aug 1, 2024

BBC Prom, Royal Philharmonic Orchestra with Vasily Pentrenko

London, United Kingdom

Ravel: Piano Concerto in G major

Venue: Royal Albert Hall


July 13th, 2017

Rachmaninov Concerto No. 1 / Staatskapelle Berlin cond. Barenboim

“Denis Kozhukhin in complete unity with Barenboim”

“Daniel Barenboim, who originally was to continue his Rachmaninoff piano concert cycle with Lang Lang, could find a more than adequate replacement: Denis Kozhukhin, the Russian pianist, who already created a stir two years ago, when he stepped in for Martha Argerich during Barenboim’s Staatsoper-Festtage. Since then, the 30-year-old seems to enjoy the confidence of the Maestro, and is one of the musical friends Barenboim likes to invite to the Boulez-Saal. Yet the fact that Kozhukhin is in a position to shake off Rachmaninoff’s almost unknown, difficult first piano concerto within such a short time, is a wondrous surprise.”

“This time the pianist shows a different face – that of a wild virtuoso. Already at the start of the F-Sharp-Minor Rachmaninov Concerto – a twisted mixture of Tchaikovsky fanfares of fate and the launch of the Grieg Concerto – he succeeds in a sweeping manner through head-over-heels tempi that remind of the legendary Rachmaninoff recordings of the American Earl Wild. However, Kozhukhin is not a hotrod, and his loud hissing and wheezing in the highest fortissimo excitement should not overshadow how intelligent and differentiated his piano playing is. Depending on the circumstance, Kozhukhin can play with force, exude lyrical warmth or fascinate with clarity. He confidently leads the Staatskapelle at all times.”

Berliner Morgenpost, June 2017


“Pianist Denis Kozhukhin delivers another highlight with the first piano concerto by Sergei Rachmaninov. Powerful, and at the same time easy -“cool” might be the right expression – he casts the underestimated early work. It stands in the shadow of “Rach 2”, although it has the most beautiful middle movement of the four piano concertos by the Russian late-romantic, which moves from its phantasy quality straight into the virtuoso finale. In the process, Kozhukhin hardly manages to stay on the stool, and brings the concerto to a grandiose conclusion nearly standing up. Barenboim’s embrace afterwards expresses enthusiasm, and perhaps also thanks for having represented the injured Lang Lang with bravura.”

Tagesspiegel, June 2017