Denis Kozhukhin

Wigmore Hall recital / Haydn, Franck, Schubert, Hindemith, Brahms

“Kozhukhin gave a fresh-faced reading of the F major Piano Sonata (Hoboken 23). Crisp and eager, fleet and fastidious, Kozhukhin delighted in the surprises to be found during the witty and urbane first movement, and in the intricate Adagio that follows he brought out its plaintive expression and unexpected modulations. Played with pleasure, the jolly japes of the finale made the world seem a better place. Then with much contrast Kozhukhin found a richly expressive world in César Franck’s masterly Prelude, Chorale and Fugue (Liszt and his cyclical principles in the mix), searching and soulful initially, and also clarifying the denseness of the writing, then delivering raptly the chords and arpeggios of the ‘Chorale’. The ‘Fugue’ was prepared grandly for and exposed for both its minutiae and sweep…

It was good to hear this work and to enjoy Kozhukhin’s commitment to it [Hindemith Sonata No. 3]. So too the pianist’s way with the Fantasies (three Capriccios and four Intermezzos) that make up Brahms’s Opus 116; whether mightily heroic, tenderly personal or powerfully passionate, Kozhukhin had the measure of chordal cloudbursts and the most intimate expression.

In reviewing the Onyx Prokofiev release, I suggested that “it may well be that Denis Kozhukhin (born 1986 in Nizhny Novgorod) can be considered as the leader of the pack of Russian pianists currently under forty.” This Wigmore recital more than confirmed this… Kozhukhin will surely become a favourite at this venue.”

Classical Source, September 2013

Festspiele Mecklenburg-Vorpommern / Haydn, Franck, Prokofiev, Hindemith / Brahms

“Kozhukhin is a phenomenal technician, but no pianistic lion. He is an expressive musician whose playing is commanding and convincing, with a touch which knows all the facets of eloquent language, from gentle caressing strokes to steely-fingered, controlled articulation.

Seemingly effortless, yet highly focused and dedicated, Kozhukhin presented this demanding programme as a virtually exciting journey through pianistic summits.”

Ostsee Zeitung, August 2013

West Australian Symphony Orchestra / cond. Arvo Volmer / Prokofiev Piano Concerto No. 3

“Many years ago, I heard Julius Katchen in Prokofiev’s Piano Concerto No. 3. Until the weekend, I had never encountered a performance to match it. But on Friday, at his first performance in Perth, Denis Kozhukhin, the young Russian pianist, did just that in an electrifying account of one of the toughest keyboard assignments in the repertoire.

Building up to shattering climaxes, Kozhukhin, like some pianistic Zeus, hurled bolts of sound into the auditorium and, with fearless fingers and phenomenal finesse, steered a faultless way through pages that are unconquerable Everests for most other musicians. So attuned was this extraordinary pianist to the subtleties of the score, it seemed as if the presentation was more a form of communion between pianist and composer than mere communication between soloist and audience…

And in response to a storm of ecstatic applause, Kozhukhin gave us, as encore, Siloti’s arrangement of Bach’s Prelude in B minor. After the pianistic pyrotechnics of the concerto, the unfolding of these serene measures was an oasis of tranquillity. Bravissimo!”

The West Australian, June 2013

Adelaide Symphony Orchestra / cond. Arvo Volmer / Prokofiev Piano Concerto No. 3

International Piano Series, Queen Elizabeth Hall / Prokofiev Sonatas Nos. 6, 7 & 8

“Kozhukhin is a terrific player. He seems to combine massive technique, sensitivity and great intellect all within the same body, something mightily rare these days. As these sonatas appear to be his calling card it would be rash to suggest we take our hats off to a genius – I need to hear him in other repertoire – but that he is a musician of stature is beyond doubt. There were no technical obstacles for him in this recital, which is saying something…

[In the Sixth’s Sonata] Kozhukhin’s sense of contrast was great indeed – the more relaxed sections were very ruminative. Yet he can do charm, too, as in the echt-Prokofiev staccato at the beginning of the Allegretto second movement; contrasting profundity made the third movement – Tempo di valzer lentissimo – radiant. His sound was miraculously deep here, his pianissimi properly so and yet with true, projected tone. The Vivace finale was not just fast, but was sinisterly so, an undercurrent far more pronounced here than many other readings.

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International Chamber Music Series, Queen Elizabeth Hall / Shostakovich Piano Trio No.2 & Messiaen Quartet for the End of Time / Renaud and Gautier Capuçon, Jörg Widmann

“This was a devastatingly powerful rendition of Shostakovich’s music, all three performers marshalling the full weight of their technical and expressive forces to give a performance that was both compelling and heart-rending…

To see, and hear, four musicians so fully engaged in this timeless and transcendent music was extraordinarily powerful, and it seems appropriate to paraphrase Messiaen himself to describe the reaction of the audience: never before had we listened with such attention and understanding. The standing ovation at the end of the work was richly deserved: this was chamber music of the highest order.”

One Stop Arts, May 2013

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Orchestre National des Pays de la Loire / Liszt Piano Concerto No. 1 / John Axelrod