Denis Kozhukhin

“The orchestra was joined by Denis Kozhukhin for the Ravel, and together they gave a masterly performance. The outer movements were as brisk and near-ephemeral as you’d want, the sudden nonchalant shifts of texture and dynamic in the orchestra (yowling woodwind, silky strings, lacy harp passages; solos from perky clarinet, sad trombones and tin trumpets) all delivered with precision and commitment under Petrenko’s artful control. Kozhukhin’s playing style might best be described as ‘relaxed brilliance’: the busy sparkle of those glittering piano runs was full of understated virtuosity, and the slow hesitancy of the waltz of the middle movement was performed with just the right amount of introspective tristesse. One expected an encore full of vim and panache, but, instead, Kozhukhin opted for the perfect placement of the solemn chords of Tchaikovsky’s ‘In the Church’ from his Op. 39 Album for the Young.”

“Denis Kozhukhin is one of those pianists who “own” the utterly delectable Ravel G major Piano Concerto… though his way with it is characteristically individual: more romantic than jazz-age, playing with some of the solo passages in the manner of inspired improvisation.”

“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.”

“The Russian-born pianist Denis Kozhukhin responded with an extraordinary concert to the expectations created by his first visit to the Alicante Concert Society. Despite his youth, he showed signs of a musical maturity that places him at the top of the world’s pianists, with an exceptional brilliance in both technical and expressive aspects. The result was an exquisite performance from the first note to the last, with an emotional connection with the audience who enjoyed, fascinated, the concert.

He opened the concert with Schumann’s Kinderszenen (Children’s Scenes), Op. 15, a set of thirteen piano pieces inspired by the composer’s childhood memories. Almost twenty minutes of excellent music in which Kozhukhin knew how to transmit the emotional depth and sophistication that evokes the inner world of childhood, reverie, with a poetic interpretation of the highest level that did justice to the mastery of the composer’s musical writing. In his interpretation, he combined apparent simplicity with a wide range of rhythms and figures that conveyed a sense of vitality.

When he had already won over the concert-goers, he tackled with extreme subtlety and determination a Selection of Lyrical Pieces, one of the most transcendental works of the illustrious creator Edvard Grieg. The pianist, like a goldsmith, interpreted with precision the expressive craftsmanship that the composer offers in each tiny piece, many of them faithful to the melodies of traditional Norwegian and Danish dances. Kozhukhin played with fluidity and lyricism to deliver a sound that was clear and precise, as well as beautiful and delicate, contrasting with moments of intensity.

He ended the first part with Brahms’s beautiful and melancholy Three Intermezzi for piano, Op. 117. The artist put his virtuosity at the service of expressing the complex harmonies of the work, with moving lyricism and colour. His interpretation delved into the most melancholic and sensitive feelings, but he also knew how to transmit all the emotional intensity that the piece entailed.

After the interval he played the Sonata No. 21 in B flat major D960, one of Schubert’s masterpieces, full of melody and depth. Kozhukhin’s undeniable talent and mastery of technique masterfully drew the contrasts between moments of subtlety and elegance, and those full of energy and dynamism, until he dissipated the final tension with a decisive movement full of vivacity.

A prolonged ovation was rewarded by two colossal encores that thrilled the audience with their tenderness and emotion. The first was Tchaikovsky’s Album for Youth, no. 24 In the Church, and the second was Bach’s fantastic Siloti Prelude.”