Bartok Piano Concerto No. 2 / London Symphony cond. Sir Simon Rattle

Denis Kozhukhin

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Reviews

July 22nd, 2017

“Kozhukhin’s calm and unassuming demeanour belied the powerful and uncompromising nature of this work, but quickly revealed an inner intensity and conviction. The Stravinskian outer movements were jagged and relentless, with punchy winds, brass and percussion all masterfully controlled by Rattle. Kozhukhin pounded aggressively through the rhythmic labyrinths, displaying the piano’s percussive elements exactly as the composer intended. But there was deftness too, particularly in the ‘night-music’ of the second movement, with Kozhukhin threading through the fog with delicacy and mystery before the bass drum rudely heralded a quite brilliant third movement.” – Bachtrack

“Bartók’s Piano Concerto No 2, a slippery work with a remarkably relaxed soloist, Denis Kozhukhin, who tripped through a hair-raising part with no-fuss dexterity.“ – The Times

“…Denis Kozhukhin the fearless soloist” – Evening Standard

“[Denis Kozhukhin] dispatched the fiendish solo part with the air of a conquering hero.” – Financial Times

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.”

Read full interview on Scherzo