<body><div><figure><img src="https://img.particlenews.com/image.php?type=thumbnail_580x000&amp;url=41geqK_0vkfIVHS00" alt="https://img.particlenews.com/image.php?url=41geqK_0vkfIVHS00" width="800" height="450" ><figcaption>Robert Henry takes a bow at the conclusion of Monday's recital at KSU's Morgan Hall. (credit: Mark Gresham)</figcaption></figure>CONCERT REVIEW:Mark Gresham | 26 SEP 2024On Monday evening at Morgan Hall in Kennesaw State University’s Bailey Performance Center, pianist Robert Henry delivered a recital drawn almost exclusively from Romantic era repertoire with one departure into modern minimalism, focusing on sets of expressive, mostly virtuosic standalone works and avoiding Sonatas altogether.Henry opened the recital with Johannes Brahms’ Two Rhapsodies, Op. 79, immediately establishing a tone of intensity and drama. His performance of the first, the Rhapsody in B minor, was forceful yet flexible in tempo and expression but was, in the end, a little rough-edged with a few stumbles, which Henry successfully played through. The Rhapsody in G minor revealed a rich emotional depth with dynamic contrasts but faced some of the same performance problems, which are atypical of Henry’s playing.A striking shift came with the next piece, the “Opening” from Philip Glass’ Glassworks, bringing the program into the minimalist era. Its repetitive structures and gradual harmonic shifts demand precision. Mr. Henry was able to center himself and deliver a clear, meditative performance that brought forth a surprising degree of color from the simplicity of its interlocking three-against-two rhythms, creating a tranquil, hypnotic momentum that contrasted and yet also complemented the preceding Brahms and the body of other Romantic works to come.Returning to the Romantic period, Henry performed a selection of Frédéric Chopin’s Études grouped by tonal center. The first group was a set of five études tonally centered around F: Op. 10 No. 9; Op. 25 Nos. 2 (“The Bees”) &amp; 3 (“Horseman”); No. 1 from Trois Nouvelles Études; and Op. 10 No. 8. Henry followed that with three études centered around A-flat: No. 2 from Trois Nouvelles Études; the famous Op. 25, No. 1 (“Aeolian Harp”); and Op. 10, No. 10.Each étude blended Chopin’s signature lyricism with a demand for technical brilliance. Henry’s performance of the “Aeolian Harp” Étude, with its shimmering, delicate arpeggios, was one of the standouts among the set.The apex of the program came immediately following the intermission when Henry offered a refined interpretation of Gabriel Fauré’s Nocturne No. 4 in E-flat Major, capturing the introspective and poetic essence of the work. His phrasing and subtle dynamics painted a dreamy soundscape, drawing the audience into Fauré’s quiet elegance.The recital concluded with Franz Schubert’s Six Moments Musicaux, D 780, a set of character pieces ranging from playful to melancholic. Henry demonstrated a keen sensitivity to the emotional shifts in these miniatures, from the lively “Allegro vivace” in F minor to the wistful “Andantino” in A-flat major. His choices of phrasing and tempo throughout the set were admirable, though for me it did not impress quite as much as the Fauré Nocturne.As an encore, Henry performed Chopin’s Étude Op. 10, No. 12, famously known as the “Revolutionary Étude.” This stormy piece, believed to have been inspired by Chopin’s reaction to the 1831 Russian attack on Warsaw, is renowned for its powerful left-hand passages and emotional intensity. Henry’s passionate performance served as a fitting close to the evening.The warm reception from the plentiful audience, primarily students and residents of the surrounding Kennesaw community, reflected their sincere appreciation for Mr. Henry’s artistry. ■</div></body>

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Pianist Robert Henry brings Romantic passion and a touch of minimalist calm to KSU recital

On Monday evening at Morgan Hall in Kennesaw State University’s Bailey Performance Center, pianist Robert Henry delivered a recital drawn almost exclusively from Romantic era repertoire with one departure into modern minimalism, focusing on sets of expressive, mostly virtuosic standalone works and avoiding Sonatas altogether. Henry opened the recital...