Robert Owens
1925 - 2017
About
Robert Owens, a native of Denison, Texas, was known as one of the leading names in the late 20th and early 21st century within the genre of African American art song. He gained notoriety as a concert pianist, vocal accompanist, composer, and stage and television director. Learning to play the piano at a young age from his mother, Owens composed his first piano and art songs in his high school years and continued to develop his talent under Genevieve Longrus and Dora O’Neill.
After his time in the military, he continued his education in Europe and studied with various professors such as Jules Genty, Alfred Cortot, and Grete Hinterhofer. Owens briefly came back to America to pursue a teaching position in Georgia. It was during this time that he was introduced to the African American poet Langston Hughes and wrote two song cycles based on his poetry, Silver Rain and Tearless. Once back in Europe, Robert Owens settled in Hamburg, Germany and resumed composing and started acting to support his career. At the end of his life, the composer still considered Hamburg his home, however he occasionally returned to the States as an artist-in-residence at various educational institutions such as University of Michigan and University of Wisconsin.
Related Information
https://artsongalliance.org/composers/robert--owens
Works by Robert Owens
| Title |
Collection |
Voice Type |
Range |
Poet |
Language |
|
The cottager to her infant
|
Four Motivations, Op. 21
|
Baritone
|
B2 - D4
|
Dorothy Wordsworth
|
|
|
The Crucifixion
|
A Cycle of Six Negro Spirituals for Bass and Piano
|
Bass
|
A2 - A3
|
Biblical
|
|
|
The End
|
Border Line, Op. 24
|
Voice
|
C4 - E5
|
Langston Hughes
|
|
|
The Lynching…
|
3 Songs, Op. 41
|
Baritone
|
Ab2 - D4
|
Claude McKay
|
|
|
The Mouse and the Camel, Op. 122
|
|
Mezzo-Soprano
|
B3 - F5
|
Jalal ad-Din Muhammad Rumi
|
|
|
The Old Stoic
|
3 Songs for a deep voice, op. 18
|
Mezzo-Soprano
|
A3 - Eb5
|
Emily Jane Bronte
|
|
|
The Secret
|
3 Songs, Op. 31
|
Voice
|
E4 - A5
|
Paul Laurence Dunbar
|
|
|
The Secret
|
Images: Three Songs for a High Voice and Piano, Op. 15
|
Voice
|
E4 - A5
|
Paul Laurence Dunbar
|
|
|
The Sparrow
|
3 Songs, Op. 31
|
Voice
|
C4 - G5
|
Paul Laurence Dunbar
|
|
|
To One in Paradise
|
The Robert Owens Songbook, Three Songs be E. A. Poe, Op. 14
|
Voice
|
G2 - Eb4
|
Edgar Allen Poe
|
|
|
To the White Fiends
|
3 Songs, Op. 41
|
Baritone
|
A2 - E4
|
Claude McKay
|
|
|
Vagabonds
|
Tearless Op. 9
|
Baritone
|
Ab2 - Db4
|
Langston Hughes
|
|
|
Vorfruhling
|
Three Lieder, Op. 47
|
Voice
|
Ab3 - Eb5
|
Hugo von Hofmannsthal
|
|
|
Walls
|
Tearless Op. 9
|
Baritone
|
A2 - C4
|
Langston Hughes
|
|
|
Wenn du über, die Weisen
|
The Robert Owens Songbook, Traum, op. 22
|
Voice
|
Bb3 - Eb5
|
R. Roeder
|
|
|
Wenn ich am Morgen erwache
|
The Robert Owens Songbook, Traum, op. 22
|
Voice
|
G3 - C5
|
R. Roeder
|
|
|
What lips my lips have kissed
|
The Robert Owens Songbook, Two Songs by Edna St. Vincent Millay
|
High, Low
|
E4 - G5 | B3 - D5
|
Edna St. Vincent Millay
|
|
|
When We Two Parted
|
Stanzas for Music: Four Songs for Tenor and Piano
|
Tenor
|
F3 - F4
|
Lord Byron
|
|
|
Wiegenlied für Serafina
|
The Robert Owens Songbook
|
Voice
|
G4 - G5
|
Unknown
|
|
|
Yet Do I Marvel
|
Three Countee Cullen Songs, Op. 27 for High Voice and Piano
|
High
|
E4 - G5
|
Countee Cullen
|
|
|
You May Bury Me in the Eas'
|
A Cycle of Six Negro Spirituals for Bass and Piano
|
Bass
|
C#3 - C#4
|
Biblical
|
|