Prague 1972:

» ...he devotes his perfect ability completely to an expressive presentation, whose versatility and brilliant emotionality can sit up .... The highlight of the solo presentation of extraordinary musical and technically best-equipped pianist Richard Kratzmann was the two-movement Sonata 3 by L. Fischer, according to their decay probably wished not only a listener, that they may begin again. Proved ... the recently graduated student of Prof. Rauch and Prof. Palenicek ... also for the other compositions of the unusually demanding program - Schumann Fantasy C major op 17, Brahms Sonata in F minor op.5 - that he its integration into the international cycle "world Piano - creation" fully deserved ... he gave the evening what inseparable part of this creative interpretation: own profile and your own spirit. «
(Svobodné Slovo, 21.3.1972)


Scotland 1973:

» ... His mastery of the keys and pedals came with the Sonata in F minor by Beethoven to full effect and has been honored by prolonged applause. This assessment was given to him also, after the then presented shorter pieces in their diversity - Etude in B flat minor by Chopin, Ynys Gyfaredd of Baldwin and Etude in A minor on a Theme by Paganini-Liszt. The evening ended with another brilliant interpretations as an encore. «


Cairo 1974:

» ... "... This is true piano in its purest expression, fine sensibility and distinctive style of beauty.«
(Harold Gramatges, Komponist, Consejo nacional de dultura, Cuba, 1975)


Havana 1975:

» ... The works of Beethoven, Rachmaninov, Prokofiev, Janacek and Fiser were executed brilliantly. His deep musicality and his outstanding technical ability have merit mind that was played back to the listeners of the content expression of the compositions in an ideal and perfect way. «
(Harold Gramatges, composer, Consejo nacional de dultura, Cuba, 1975)


Moscow (Pravda) in 1977:

» ... His flawless and masterful performance gave the works of Beethoven, Schumann and Mussorgsky a very expressive, moving and interesting sound.«


Munich 1979:

» ... The artist, a native of Prague captivated by a distinct personal touch, which secured all the works a profiled playback .... Technically flawless and sharply defined he illuminates the scene change in Schumann Kreisleriana ... Grand finale with Mussorgsky's" Pictures at an Exhibition "that were presented in woodcut-like, strong colored clarity, interrupted by moving walkways from image to image. Enthusiastic applause. «
(Münchner Merkur, Helmut Lohmüller, 3.3.1979)


Munich 1987:

» Schumann's" Kreisleriana "... With eloquent ballad-tone Kratzman unfolded the" very intimate "Song of the second piece, after researching vocal branches, cost lyric shading agogically free, gentle and pensive, but never from sallow, offered hot upswings ... . then, gloomy interpreted Chopin's F minor Ballade: So mourning hard as Kratzman not many know how to articulate the "Mezza voce" Melos and to nuance, ....«
(Klaus Bennert, Süddeutsche Zeitung, 3.6.87)


Landshut 1987:

» A great designer: ... Richard Kratzman has never repeated himself in the stylistic byforming of the inventive piano pieces by Schumann. For every sonic situation he found its own convincing expression to capture the listener almost magically ... What we as in the interpretation by Kratzmann could experience, that was in the deepest sense of the word poignant ... And then comes a master pianist and let flourish brand new game by consummate the wonderful sonic performances of Chopin! «
(Landshuter Zeitung, Eugène Marin, 29.9.1987)


Landshut 1988:

» ...Schumann's three sets came at the hands of Richard Kratzmann to wonderful sounds full of strength and sweetness ... At none of the exceptionally demanding passages was even the slightest doubt as to the" correctness of the opinion " ... In the listening pleasure mingled repeatedly admiration for the clean solution to the constantly challenges to be purely technical demands made by Schumann to the artist. Overwhelming was the whole evening about the wonderful stop art in all its dynamic shades of the finest lyrical touch to the powerful eruption of powerful chords, as required in this rarely heard program selection ... Kratzmann succeeded in demonstrating the absolute value of "Pictures at an Exhibition " in the original version of Mussorgsky. The artist's stupendous technique, but especially his in-depth musicality were evident in an admirable way.«
(Landshuter Zeitung, Eugène Marin,7.3. 1988)


Regensburg 1989:

» Precision, expression and great sensitivity: ... Richard Kratzmann acted here (Prokofiev's Sonata in F minor) in the hard-to-play, cutting dissonances technically perfect and gave the work the necessary expression. In Chopin's Piano Sonata in B flat minor, Op 35, the performer showed the whole of his bravura skill. Under his fingers the famous funeral march of the third movement was an extremely intimate and sensitive sound experience ... In the fourth set the constant triplet of both hands in unison bribed by absolute precision. Perhaps no one can play Chopin more soulful. «
(Stefan Rimek, Mittelbayerische Zeitung, 31.10.1989)


Eichstätt 1991:

» ... Without this piano-esk armor Chopin is not to deal with. This is also true for its ... 14 waltzes, of which Richard Kratzmann had selected five: all in the fundamental noble-sentimental, overcast in the mood. Even "pop" as the Minute Waltz, and Schubert-like sounding sharp minor Waltz, the second of the same opus number, appeared through Kratzmann like newly cleaned ... The "Appassionata" Op 57 from 1804 is a drama in music, is full of dark passion and stormy emphasis. Kratzmann sees the work of the conclusion from, where the man Beethoven is fighting fate and his ego stand it's ground in the storm of emotions; not cheap consolation is sought after (as so many times in the second set, when you play him too romantic-larmoyant), also no dugging in pain (the fate motif of the 1st movement could be tempting to). Everything becomes great, seen humanly - and designed wonderfully. No wonder that the audience excited three freebies... «
(Eichstätter Kurier 19.11.1991)


Eichstätt 2000:

» Master of the design of serial music: ... The three-part piano sonata of Lubos Fiser who was born in 1935 in Prague, caused a stir: Massive chord strumming open the Sonata ... Richard Kratzmann proves in this serial music as a master of design. With great composure, he designed the meditative parts. Extraordinarily concise he succeeds in the difficult technical passages ... Franz Schubert's four Impromptus Op 90 are among the treasures of the piano literature ... Kratzmann starts very disciplined the C minor Impromptu .. With compelling calm and clarity he masters the beautiful song-like parts. .. He plays with great passion and a fine-tuned touch culture ... A document of melancholy is the Adagio in B minor, K. 540, which Mozart composed in 1788 ... Kratzmann characterizes the music entirely in the spirit of this poetry and with a warm tone . His touch succeeds in making the music so incomparably memorable. The sighing motifs designed Kratzmann extremely speaking. Wonderful the turn to comforting D Major ... «
(Karl-Heinz Wolf, Eichstätter Kurier, 16.5.2000)


SZ, Foto Franz X. Fuchs