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Symphonic Concerts
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Jenaer Philharmony
New music – sensual and expressive
Jenaer Philharmonics take the risk
By the motto of European Expansion the Jenaer Philharmonics,
on Wednesday, went beyond of the horizon.
Lutoslawskis Concert for Orchestra surely belongs to the kind of
literature which, by means of quality, made it to the Pantheon of
the 20th century. And Frank Cramer at the conductors stand of
the Jenaer Philharmonics lets the orchestra play the unique
score nuance by nuance, tasting the contrasts and structural
playfullness of the endless, depthfull piece and yet does not
loose sight over the complete work …And the precision speaks
volumes.Here – and first of all with the remarkable Memento
of the Serbian Mihajlovic – the Jenaer again and again proof an
astounding force and expressiveness in their sound.This piece
also lives of it’s contrasts – dynamics, tempo and style.Cramer
leads the orchestra to the extrem, this leaves an everlasting
impression behind, which is quite rarely the case with
contemporary pieces … A great evening.
Dr.Tatjana Mehner, Ostthüringer Zeitung, March 19, 2010
Philharmonic Orchestra of the Hanseatic City of Lübeck
Freshness, full of colors, and finesse
... J.Haydns Symphony Nr.101 D-major The Clock, then was a
great transition and catalyst. Cramer - from now on conducting
by heart - gave the symphony the approbiate swing...
With Zoltan Kodálys Dances from Galánta, Frank Cramer
demonstrated the best of a precise work with the rythmic
finesses and made the colors of the orchestra glow. Now the
Philharmonics could show their qualities from the dense
sound of the strings to the artistic caprioles of the wind section...
güz, Kieler Nachrichten, January 20, 2009
Philharmonic Orchestra of the Hanseatic City of Lübeck
An adagio like a poem
With the young Frank Cramer a conductor, loaded with fresh
energy,stood before the orchestra of Lübeck. He could combine
his expressive strength with the rich opportunities of the soloist
Oliver Triendl. What shining colors, already within the first
expanded movement, what fullfilled, lovely silence in the lyrical
second one...Enchanting moments, for instance when the
adagio (Beethovens' 5th, piano concerto) from the piano was
recited like a poem and the orchestra long windedly provided
the background...And the encouraging Dances from Galánta
by Zoltan Kodály, the musicians, using a great deal of
percussion, created a fantastic rhythm. Delightfull...
WT, Lübecker Nachrichten January 20, 2009
Orchestra e Coro dell' Arena di Verona
VERONA SACRA | Great conductor and great orchestra
A brilliant interpretation by the German conductor Frank
Cramer
…Outstanding the performance of the Orchestra dell’Arena with
the Sinfonia da Requiem (Britten). Here, the German conductor
Frank Cramer, succeeds with the most difficult task, to combine
dramatic pleading with neoclassic calmness, with a brilliant and
desisive interpretation, in examplary agreement with the
composing mind Britten’s. Suggestive and moving, subsequently
the second piece appears, Vetrate da Chiesa, quattro
impressioni sinfoniche, which shows, how intense Respighis
love was for the dense and at the same time sensitive coloring.
The last picture, the one of Gregor the Great, is a real hymn of
joy to God, which Cramer, in all its unusuall might, understands
to convey. With the pieces of Pärt (Cantus in memory of
Benjamin Britten) and Marco Tutino, who closes the evening
with his Canto di Pace, Cramer urges into depth, developes
an intimate and affectfull atmosphere, which is engraved by a
thoughtfull and reserved performance. The Orchestre dell’Arena
reacted very good to his suggestive gestures and especially
showed evidence of the quality of its wind section and
percussionists.
G.V. , L'Arena, April 21, 2008
Jena Philharmonic Orchestra
A Gem among the New generation of Conductors
Frank Cramer excites the audience in the Volkshaus Jena
Who says there aren't any capable young conductors in Germany
after all! When Frank Cramer entered the Volkshaus stage last
Friday the audience saw a conductor who has exellent command
of his craft. It is not only his reading of the scores, he can also
bring them to life without the theatrical effects used by many a
colleague intending to win over the audience that way. Cramer is
an expert of high caliber and the Jena Orchestra was able to read
his every gesture - the resulting sound not only confirmed once
again the high standard the orchestra sets when it goes about its
work, but also expressed the joy of making a new discovery that
also mobilizes a musician's new energies. ...this creates
seemingly endless dynamic waves in the Rachmaninov piece,
which were even visible in Cramer's conducting. After the concert
he was rewarded with waves of never ending applause. This is a
name one should keep in mind. The Jena audience and concert
lovers can only hope that in the future Cramer can be enticed into
the Jena Volkshaus again.
Karl Müller Schmied, Ostthüringer Zeitung, 10 / 30 / 2007
Jena Philharmonic Orchestra
Wide Screen Cinema in Music
Jena Philharmonic Orchestra with 'European Hollywood'
Above all this evening showed the amazingly compact ensemble
sound and the powerful efficiency of the Jena Philharmonic
Orchestra. It might not be concidered elegant that towards the
end enthusiastic bravos sounded even before the finale trailed
away and that Frank Cramer at the music stand broke the
suspense, but it is highly understandable. Sergei Rachmaninov's
Symphonic Dances is definitely one of the works where light and
easy only applies to the title; the score meets all requirements of
a symphonic concert's main work and is by no means a piece of
cake. Frank Cramer neither denies the brittleness nor the almost
exaggerated wallowing attitude, the tendency to wide screen
cinema. And regarding to his interaction with the Jena
Philhamonic Orchestra, one cannot ignore the feeling that this
has been a sidereal moment and an excellent symbiosis.
Dr.Tatjana Böhme-Mehner, Ostthüringer Zeitung, 10 / 31 / 07
Orchestra of the Folkwang Conservatory, Essen
Lachenmann, the composer himself was enthusiastic
Frank Cramer conducted the Folkwang Orchestra
'Can one reach the audiences of philharmonic music with
modern music? The answer is Yes! ... the predominantly young
listeners experienced an exciting concert on a high level. Guest
conductor Frank Cramer did a great job…Not only with Arnold
Schönberg’s (Five Orchestra Pieces op.16) was the orchestra
convincing. Also the introductory piece Passacaglia op.1 by
Anton Webern and epecially Witold Lutoslawskis’ Concert for
Orchestra clearly proved that with the necessary discipline one
can get out a lot more of this orchestra.The piece Mouvement
(vor der Erstarrung) by Helmut Lachenmann, played by a smaller
ensemble of instrumentalists from the orchestra, triggered great
enthusiasm amongst the highly attentive audience, with the
composer being present, who at the end congratulated the
orchestra to a rousing musical rendition of his score.
Please more of it!'.
Christoph Dittmann, WAZ, May 16, 2006
Orchestra Sinfonica del Friuli-Venezia-Giulia
Wonderful direction of Cramer
'...the intensive collaboration of the orchestra with Frank Cramer
was remarkably fruitful. Already the first measures of the overture
to La Clemenza di Tito stood out with a crystal clear and
precisely outlined sound. ...impressive dynamics and transparent
voice-leading in the Prague Symphony, a finale of frenzied
stringency and emotional outbursts in minor… In the Italian
Symphony Frank Cramer convinced with his passionate
interpretations.The Andante was astounding – a beginning of a
highly emotional intensity. … Finally, with the Saltarello Finale,
the audience, who had already shown their enthusiasm
throughout the evening, was completely captured.'
Lucia Ludovica de Nardo, Il Gazzettino, January 23, 2006
Orchestre National des Pays de la Loire
'...Frank Cramer, who has conducted many symphony - and
opera orchestras, displays his impressive abilities of his
personality and authority from the very beginning…..He ended
the concert with Schubert’s Ninth (Symphony in C Major),
a true monument, to which he, together with a very cooperative
orchestra, was able to give a strong dramatic as well as gentle
poetic performance, which reflected all of Schubert’s
expressiveness, bringing out its magic and radiance.'
Ouest France, October 31, 2003
Bergische Symphoniker
'...Cramer loves the polished orchestra sound. Between fine
nuances in colour set in tight margins and the opulent rapture of
the finale, there were lush contrasting effects. A student of Stein,
Cramer conducted technically clean, analytically clear, always
looking ahead and breathing along ...'
T. Wintgen, Remscheider Generalanzeiger, March 9, 2001
Philharmonic Concert Altenburg - Gera
Conductor Cramer was very convincing
'Sometimes Bruckner takes a while to have an effect. And
sometimes his symphonic compositions can be an exciting
thriller, as was the Fourth Symphony this evening. Cramer
drew distinct gaps between the theme structures, set lightness
against the voluminous, and in addition sculpted razor-sharp
dynamic contrasts.The funeral march like 2nd Movement and
the chase-like Scherzo were just as thrilling. In all that, Cramer,
born in Essen, especially impressed with naturalness and
precision in his conducting, until the very last beat of the
triumphant final movement.'
Katrin Seidel, Ostthüringer Zeitung, November 27, 2000
Mecklenburgische Staatskappelle Schwerin
'Frank Cramer pleased with his relaxed, graceful and impulsive
style of conducting.'
Schweriner Volkszeitung, February 5, 1999
Orchestra Sinfonica Nazionale della Rai -Turin
'For quite some time now, the orchestra seams to be so fit, that
it's unnecessary to praise them for their work. Everything went
quite well last night and young Cramer, who conducted at the
podium between Giulini's and Riccardo Muti's performance,
was celebrated with ovations by the audience.'
Nicola Campogrande, La Repubblica, January 22, 1994
Hamburg Symphonics
'The result: pure cinema-fascination with terrific `cinemascope
sound´, spiced up with informative commentaries by Cramer:
the discovery of the evening. His conducting was exact,
transparent and expressive. Even rhythmically difficult phrases
he managed with the verve of a dancer and was in control of the
orchestra at all times. Whether it was dramatic bombastic effects
or revelling in romance, every entrance, every pause, every
nuance was well placed.'
Hamburger Abendblatt, September 24, 1994