Bozeman Symphony presents

Posted in Uncategorized by Robert Henry

Bozeman Symphony presents Robert Henry

Robert Henry will be the featured pianist in the Bozeman Symphony’s Piano Series on Friday, January 22nd at 7:30pm. The beautiful Reynolds Recital Hall on the Montana State University Campus offers a superb setting to enjoy the vast variety of repertoire for solo piano and Bozeman Symphony is pleased to present you this January with … Continue reading



Spivey Hall performance

Posted in Uncategorized by Robert Henry

From the article:Capture
When asked about his own cultural environment while growing up, Henry says, “I was extremely fortunate to have parents and family who encouraged my music-making every step of the way. Looking back, it was really concert attendance and a few wonderful recordings that kept me inspired. I loved when great artists would come to play with the Atlanta Symphony Orchestra, and my parents always found a way to get me backstage to speak with them.”

Read more at: ArtsAtl.com




New Recording Released!

Posted in Uncategorized by Robert Henry


As the Songbird Sings: Music of Schubert and Brahms

Friends and Fans,
I’m pleased to announce my second CD/Album is now available on iTunes and Amazon Mp3!

As the Songbird Sings: Music of Schubert and Brahms

Purchase “As the Songbird Sings: Music of Schubert and Brahms” on iTunes


Purchase “As the Songbird Sings: Music of Schubert and Brahms” on Amazon Mp3


Purchase and enjoy! (Soon, it will be in physical CD format and on all major streaming services.)




a new partnership with Parker Artists

Posted in Uncategorized by Robert Henry

I’m thrilled to be newly added to the roster of Parker Artists, an artist-management firm based in New York. Looking forward to many productive years together.

For bookings, please contact:

Parker Artists ParkerArtistsLogo1-cropped
Thomas F. Parker
382 Central Park West #9G
New York, NY 10025
[email protected]
Tel (212) 864-7928
Fax (212) 864-8189



Review – Alys Stephens Center

Posted in Music by Robert Henry


Sunday, March 9, 2014
UAB Piano Series
All-Chopin Recital



BIRMINGHAM, Alabama – Given the choice of a single instrument and a single 19th century composer on a Sunday afternoon, an all-Chopin recital would be hard to resist. That’s what Marietta, Ga.-based pianist Robert Henry offered to close the 2013-14 UAB Piano Series at the Alys Stephens Center‘s Reynolds-Kirschbaum Recital Hall.

Aside from bookending his program with a movement from Schumann’s “Carnaval,” Op. 9 (appropriately, the “Chopin” movement), and encores of a Schubert Impromptu and an arrangement of a lovely Chet Atkins tune, this was a singular Chopin experience. Henry played unpretentiously, preferring to let Chopin do all the talking, and his well-rounded menu of etudes, nocturnes, ballades, the “Heroic” Polonaise and the Barcarolle, was by turns joyful, dreamy and uplifting.

Henry, whose engagements have ranged from solo recitals at Carnegie Hall, the Kennedy Center and Wigmore Hall to collaborations with the Atlanta Symphony and the Pacifica Quartet, set the pace early. The Schumann “Chopin” movement and three etudes that followed are all in the key of A flat, and he played them without pause. The seamless segues brought cohesiveness to the varying moods, as though they were composed as a single piece.

Two nocturnes, the D flat, Op. 27, No. 2, and B major, Op. 62, No. 1, revealed Henry’s softer and more lyrical side, while foreshadowing the well-proportioned, multi-voiced layering that would come to full fruition in the Barcarolle, Op. 60.

Though composed in the ungainly key of F sharp major, the Barcarolle is one of Chopin’s most exquisite creations. Henry’s focus on its shapely arc, progressing from the rocking, undulating opening minutes through carefully calculated up-and-down dynamic shifts and a inspired crescendo, was the concert’s highlight.

The four ballades followed, each combining poetry and power. Henry, a meticulous technician, has a knack for bringing out exactly what Chopin wanted listeners to hear. Each emerging voice was given the right amount of emphasis on both macro and micro levels. The gentle repose of the Ballade in F major was startlingly interrupted by its middle section, the pianist’s strength and agility more in the spotlight in the Ballades in G minor and A flat Major.

The Polonaise in A flat major, always a crowd pleaser, brought the program to a rousing close, though two encores followed. Schubert’s Impromptu in E flat, Op 90, No. 2, was a good choice for the first, with its suggestion of a Chopin etude. The second, Chet Atkins’ “Waltz for the Lonely,” was wistful and melancholy, Henry’s arrangement mixing a bit of Broadway with jazzy harmonies and perhaps a touch of Chopin.

Link to review