Barenboim/Kozhukhin, Wigmore Hall, London, review: Superb accompanist lifts violinist's limited palette

It was wise of Michael Barenboim to choose the excellent pianist Denis Kozhukhin for his Wigmore Hall debut

Michaeul Barenboim is carving out a solo career after laying a foundation as concertmaster of the West-Eastern Divan Orchestra (Yannick Perrin)

It was wise of Michael Barenboim to choose the violin rather than the piano, as his father Daniel is still one of the greatest pianists in the world.

Barenboim fils is now carving out a solo career after laying a very solid foundation as concertmaster of the politically ground-breaking West-Eastern Divan Orchestra. And it was wise of him to choose Denis Kozhukhin as accompanist for his Wigmore Hall debut, because this young Russian pianist is a keyboard poet of the first order.

Barenboim’s programme was severe – three Brahms sonatas on the trot - and he gave the opening to the Sonata in G Op 78 a firm but over-careful sound, which Kozhukhin – clearly very much an equal partner – offset with the delicately-shaded pianism with which we associate him.

Barenboim’s playing was clean and unfussy, but his palette seemed limited, and his volume-control was mostly stuck on forte; Kozhukhin’s playing throughout this work had much more character and nuance.

With the Sonatas Op 100 and Op 108 Barenboim developed some expressivity, and together these players despatched the virtuoso finale of the latter piece in fine style. Barenboim’s Kreisler encore – Liebeslied - was efficient but didn’t sing: ah well, early days.