Album review on NDR Kultur: “Grieg: Lyric Pieces / Mendelssohn: Lieder ohne Worte”

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

July 12th, 2019

“Kozhukhin impresses with enthusiasm and modest virtuosity as well as depth and intimacy. Especially the singing and simple pieces bring the empathetic side of the young, agile Russian to the surface.”

“Kozhukhin’s clear tone and his natural, non-obtrusive design are also well-suited for Edward Grieg’s “Lyrical Pieces”… With his many attack nuances, Kozhukhin creates a wealth of imaginary images in his head. Rarely have these works been heard so precisely and clearly. Sometimes he celebrates, even dissects every nuance, without losing sight of the big arch – and above all not the sensitivity that goes straight to the heart”

Read the original review in German here.

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.”