Kozhukhin: Recital in Perth and return to Internationaal Kamermuziek Festival in Utrecht

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

May 30th, 2014

Having already given his concerto debut at Perth Concert Hall with the BBC Scottish Symphony Orchestra in 2011, Kozhukhin will give his solo recital debut at the venue on 15 June. His programme will include Haydn Sonata in F major, Hob.XVI:23, Brahms Piano Sonata No.1, Liszt Bénédiction de Dieu dans la solitude and a selection of Liszt’s Transcendental Etudes.

At the end of the month, Kozhukhin will return to Janine Jansen’s Internationaal Kamermuziek Festival in Utrecht. As part of the Festival, Kozhukhin will give five separate chamber music performances with musicians including Jansen, Vilde Frang, Nicolas Altstaedt and Lawrence Power and will perform works including Debussy Sonata for Cello and Piano, Ravel Piano Trio, Schubert Trout Quintet and Beethoven Ghost Trio.

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.”