Brahms Piano Concerto No. 1 / Royal Philharmonic Orchestra / cond. Vasily Petrenko

Denis Kozhukhin

Next Concerts

Jan 29, 2026

Baltimore, Maryland, United States

Rachmaninov: Piano Concerto No.4 in G minor, Op.40

– Jonathon Heyward (conductor)

Venue: Joseph Meyerhoff Symphony Hall, Baltimore

Link to the performance

Jan 31, 2026

North Bethesda, Maryland, United States

Rachmaninov: Piano Concerto No.4 in G minor, Op.40

– Jonathon Heyward (conductor)

Venue: The Music Center at Strathmore, North Bethesda

Link to the performance

Reviews

June 18th, 2019

“The classical restraint of Kozhukhin’s metrical precision actually added to the touching pathos. Without pause Kozhukhin launched into the final Rondo, each episode of which was splendidly characterised. The fugal passage was especially ear-catching from the strings, in its quietly creeping Tom ‘n Jerry manner, before the pianist demonstrated just how piquant his decorated version was. The coda let loose its tight succession of exchanges between soloist and band, and this formidable work completed its heroic journey. The tiny encore of Grieg’s Arietta, which Kozhukhin announced to an alarming squeal from (I assume) one of that composer’s compatriots, was as evanescent and inconsequential as the concerto had sounded mighty and enduring.”
Read the full review on Bachtrack.com

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.”