Nuno Coelho and Denis Kozhukhin with the Barenboim-Said Foundation Orchestra: The musical talent that never ceases

Denis Kozhukhin

Next Concerts

April 28, 2026

Vienna, Austria

Bernstein: Symphony No.2 ‘The Age of Anxiety’
Tchaikovsky: Symphony No.6 in B minor, Op.74 ‘Pathétique’

– Sir Antonio Pappano (conductor)

Venue: Wiener Musikverein, Vienna

Link to the performance

April 30, 2026

Frankfurt am Main, Germany

Britten: Sinfonia da Requiem, Op.20
Bernstein: Symphony No.2 ‘The Age of Anxiety’
Tchaikovsky: Symphony No.6 in B minor, Op.74 ‘Pathétique’

– Sir Antonio Pappano (conductor)

Venue: Alte Oper Frankfurt, Frankfurt am Main

Link to the performance

News

December 29th, 2022

That dense sound of the inspired strings accompanied the exposition of the first theme of Rachmaninov’s concerto, in which Kozhukhin shone both technically (impeccable pulsation, even in the fastest passages of the Adagio sostenuto) and expressively, with intense phrasing in the extreme movements and articulated by a subtle rubato in the interlude while delicate according to the moment, in an outstanding performance. That he also knows how to use the keyboard as a means of communicating the most intimate sensations was evident in the very delicate way he phrased the propina (with an infinite number of dynamic gradations below the piano) “In the church”, the last of the pieces from Tchaikovsky’s Album of his youth.

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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.”