"This is a pianist of enormous talent. Venue be damned, the music made it an event."
"But the real stunner was the last movement, 'La vallée des cloches' (the valley of the bells). Kramer managed to create three distinct color fields of sound — valley, sky, bells? — which lent a luxurious, three-dimensional air."
"...the 31-year-old pianist personalized interpretations to such a degree that works emerged anew. He is a big personality.
“After a dark and quietly expressive performance of Bach’s G-sharp Prelude and Fugue (WTC I), pianist Henry Kramer pulled off a thrilling and nearly flawless performance of Brahms’ Variations on a Theme by Paganini. Playing with astonishingly confident technique, steady rhythm and masterful pacing, he dazzled the ear for 25 straight minutes. There’s not much more to say about it than, ‘Wow!’” —Cleveland Classical Review
“He produced a most exceptionally rich sound, big-boned in certain respects yet intimate when it mattered. He traversed [Beethoven’s A Major Sonata (Op. 101)]’s wide-ranging emotions with great sensitivity, wistful for the opening theme and somber in the third movement, and when the gloves came off for the second movement’s march and the valedictory finale, he swept everything before him. Ravel’s Gaspard de la nuit also received a close to perfect performance. His silky tremolos in Ondine were achieved with enviable evenness—pianissimo throughout—before building up to a tumultuous tsunami of a climax...the full dynamic range of Kramer’s armamentarium was unleashed with a vengeance...His repeated note technique was superb, and the way he launched into the coruscating climaxes was breathtaking.” —Pianomania
“...his reading [of Chopin’s Fourth Ballade in F minor (Op. 52)] came close to the perfect conception of this masterpiece, opening with unadorned simplicity and working his way through the variations to a feverish climax. Even in the terrifying coda, absolute clarity and no over-pedaling concluded this moving and probing account...He packed in savage power [in Prokofiev’s Sixth Sonata].” —Pianomania
“Henry Kramer confirmed first round impressions with a strong reading of Haydn’s E-flat Sonata (Hob. XIV:49), ably contrasting its sunny and dark polarities and mixing gentle runs with weightier passagework. He played subtly and effectively with rhythms in the concluding Minuet...He ended with seven movements from Ligeti’s Musica Ricerta, creating a wide variety of articulations and playing Ligeti’s obsessive motifs with amazing stamina (the left hand figures in No. 7 are killing, but Kramer barely batted an eyelash). He brilliantly completed the set with No. 10.” —Cleveland Classical Review