Louis Rosen is a composer, lyricist, performer, author, guitarist, educator and Guggenheim Foundation Music Composition Fellowship recipient whose musical style fuses and juxtaposes classical, folk and jazz elements. 

Albums of his songs and instrumental music include five solo albums: 

Three albums featuring various performers: 

  • THE PEARL OCTET · RIVERSONGS NONET (2024) including “The Pearl Octet: Instrumental Scenes for an Imagined Theater” and “Riversongs Nonet”
  • IT IS STILL DARK: THREE SUITES (2022), including “Winter Carols” for piano, four-hands, “Suite for Clarinet and Piano,” and the song cycle, “It Is Still Dark – Songs for Sondra, Songs of Exile” 
  • ACT ONE: PIANO MUSIC FROM THE THEATER (2017), featuring three suites: “Act One Suite for Solo Piano,” “Into Night and On the Verge” and “Orchards” for piano, four-hands; Waltz for Steve, Waltz in 5/4 and Pageant for solo piano; and “Cardinal's Waltz” from Music for Galileo for piano, four-hands) 

And five albums in collaboration with vocalist Capathia Jenkins, including the complete BLACK LOOM TRILOGY – three album/song cycles based on the poetry of three major African-American poets: 

 

Books: 

Louis is the author of the memoir/oral narrative THE SOUTH SIDE: THE RACIAL TRANSFORMATION OF AN AMERICAN NEIGHBORHOOD (Publisher: Ivan R. Dee, Cloth, 1998; Paperback, 1999); 

…and the book's theatrical adaptation, THE SOUTH SIDE: A Spoken Cantata (Theater J, Washington D.C. George Street Theater, New Brunswick, NJ); 

and BEYOND CATEGORY: MUSIC THEORY FROM BACH TO THE BEATLES (2015, self-published). 

 

Theater Compositions, Part 1 – Musical Theater:

BOOK OF THE NIGHT (1991), Music by Louis Rosen, Lyrics by Thom Bishop and Louis Rosen - collaboratively and individually - with Additional Music by Thom Bishop; Premiere: Goodman Theater, Chicago, directed by Robert Falls. Off-Broadway (1997) (Private Archive Recording)

A CHILD’S GARDEN (2000), Music, Lyric Adaptations and Co-Libretto with Arthur Perlman and Charlotte Maier, Off-Broadway, directed by Lori Steinberg, Choreography by Robert La Fosse (Private Archive Recording)

THE UGLY DUCKLING (1984 ), Music and Lyrics, with a book by Alan Rosen, based on the one-act play by A. A. Milne; Steppenwolf Theater Company Staged Reading (1984) and Ann Arbor Festival of the Arts (1989) 

BAGTIME (1979), Music by Louis Rosen, Lyrics by Thom Bishop, Book by Alan Rosen, directed by Robert Falls; Wisdom Bridge Theater and Drury Lane Water Tower Theater, Chicago

Theater compositions also include 30 scores for plays produced on Broadway, off-Broadway and at major regional theaters around the country including Lincoln Center Theater’s Vivian Beaumont and Mitzi Newhouse Theaters, Roundabout on Broadway, Circle in the Square on Broadway, The NYSF in Central Park, Chicago’s Goodman Theater, Minneapolis' Guthrie Theater, Seattle Repertory Theater, Shakespeare Theater in Washington, D.C., Long Wharf in New Haven, Princeton's McCarter Theater and many others; as well as fourteen concert suites, instrumental and vocal, drawn from these theater scores. 

Theater Compositions, Part II – Music for Plays:

  • ACT ONE (2014) – Instrumental Music for the play written and directed by James Lapine, Lincoln Center Vivian Beaumont Theater. Instrumentation: Two Pianos. Approximately 25-30 min.
  • SCHOOL FOR HUSBANDS (2004) – Instrumental Score for the play by Moliere, translated by Richard Wilbur, directed by Doug Hughes. Westport Country Playhouse, Westport, CT. Instrumentation: Violin, Accordion, Percussion, Piano. Approximately 20 min.
  • THE LITTLE FOXES (2003) – Instrumental Score for the play by Lillian Hellman, directed by Doug Hughes. The Shakespeare Theater, Washington, DC.  Instrumentation: Flute, Clarinet, Piano, Cello. Approximately 10 min.
  • THE BUNGLER (2000) – Instrumental Score for the play by Moliere, translated by Richard Wilbur, directed by Doug Hughes. Long Wharf Theater, New Haven, CT. (Private Recording). Instrumentation: Violin, Saxophone/Bassoon, Accordion, Percussion. Approx. 20 min. 
  • CORIOLANUS (2000) – Instrumental Score for the play by William Shakespeare, directed by Michael Kahn. Shakespeare Theater, Washington, D.C. (Private Archive Recording). Instrumentation: Flute/Piccolo, Clarinet/Bass Clarinet, French Horn, Trumpet, Bass Trombone. Approximately 25 min. 
  • THE RAINMAKER (1998 & 2000) – Instrumental Score for the play by William Inge, directed by Scott Ellis, Williamstown Theater (1998), Roundabout Theater, Broadway (2000). (Private Archive Recording). Instrumentation: Violin and Guitar. Approximately 10-12 minutes. 
  • PEER GYNT (1998) – a Vocal and Instrumental Score for the play by Henrik Ibsen, directed by Michael Kahn. The Shakespeare Theater, Washington, DC.  (Private Archive Recording). Instrumentation: includes: Flute/Piccolo, French Horn, Vibraphone/Xylophone, Percussion, Piano, DX-7 Synthesizer, Violin & Cello. Approximately 35 min.
  • AS YOU LIKE IT (1997) – a Vocal and Instrumental Score for the play by William Shakespeare, directed by Lawrence Boswell. The Shakespeare Theater, Washington, DC. (Private Archive Recording). Instrumentation: Recorded Instrumental Octet and 4 Voices with Guitar live. Approximately 30 min.
  • NORTHEAST LOCAL (1995) – Instrumental Score for the play by Tom Doneghy, directed by Gerald Gutierrez, Lincoln Center Mitzi Newhouse Theater. (Private Archive Recording) Instrumentation: Sax/Clarinet/Flute, Trumpet, Trombone, Vibraphone, Piano, Acoustic Bass, Drums. Approx. 10 min.
  • PICNIC (1994), Instrumental Score for the play by William Inge, directed by Scott Ellis, Choreographed by Susan Stroman, Roundabout Theater, Broadway. (Private Archive Recording). Instrumentation: Alto Sax/Clarinet, Trumpet, Trombone, Piano, Acoustic Bass, Drums. Score included Three Jazz Dances.
  • A CHRISTMAS CAROL (1991-1999) – Vocal and Instrumental Score for the play adapted by David Thompson after the story by Charles Dickens, directed by Scott Ellis, Choreographed by Rob Marshall, McCarter Theater, Princeton, NJ. (Private Archive Recording). Instrumentation: Flute, Clarinet/Bass Clarinet, Trumpet, French Horn, Percussion (pitched and non-pitched), DX-7 Synthesizer, Piano, Violin, Cello, Bass. Approximately 35 min. 
  • THE WINTER’S TALE (1992) – Vocal and Instrumental Score for the play by William Shakespeare, directed by Doug Hughes. Guthrie Theater, Minneapolis. Instrumentation: Flute/Clarinet, Violin, Percussion (pitched and non-pitched), Piano. Approximately 30 min.
  • TITUS ANDRONICUS (1989) – Instrumental Score for the play by William Shakespeare, directed by Michael Maggio. New York Shakespeare Festival’s Delacorte Theater, Central Park. (Private Archive Recording). Instrumentation: Flute, Clarinet, Trumpet, 2 French Horns, Trombone, Percussion, Violin, Cello, Bass. Approximately 25 min.
  • LONG DAY’S JOURNEY INTO NIGHT (1987) – Instrumental Score for the play by Eugene O’Neill, directed by Barbara Rosoff. Portland Stage Company, Maine. Instrumentation: Flute and Piano. Approximately 8 min.
  • THE TEMPEST (1987), Vocal and Instrumental Score for the play by William Shakespeare, directed by Robert Falls. Goodman Theater, Chicago. (Private Archive Recording). Instrumentation: Flute, French Horn, Trumpet, Percussion (Vibraphone, Xylophone and various non-pitched instruments), Piano, DX-7 Synthesizer, Violin, Cello, Bass. Approximately 30 min.
  • GALILEO (1986) – a Vocal and Instrumental Score for the play by Bertolt Brecht, directed by Robert Falls. Goodman Theater, Chicago. (Private Archive Recording). Instrumentation: 6 Voices, Piano, Percussion and Yamaha DX-7 Synthesizer. Approximately 35 min.
  • ON THE VERGE (1986) – Instrumental Score for the play by Eric Overmyer, directed by Pamela Berlin. Huntington Theater, Boston. (1986). Instrumentation: Flute, Clarinet, French Horn, Piano, DX-7 Synthesizer, Violin, Cello. Approximately 20 min.
  • ORCHARDS (1985-1986) – Instrumental Scores for an evening of new one-act plays based on Chekhov short stories, directed by Robert Falls. The Acting Company at the Lucille Lortel Theater in NYC, National Tour & Goodman Theater, Chicago. Instrumentation: Varied per play. Score included music for plays by John Guare, Michael Weller, Spalding Gray and Maria Irene Fornes. Approximately 30 min.
  • ARMS AND THE MAN (1985) – Instrumental Score for the play by George Bernard Shaw, directed by John Malkovich. Circle in the Square Theater, Broadway. Approximately 12 min.
  • THE ART OF SELF-DEFENSE (1985) – Instrumental Score for the play by Trish Johnson, directed by Steve Albrezi. Manhattan Class Company. Instrumentation: Flute, Vibraphone and Piano. (Approximately 12 min.)
  • FIRST YOUNG PLAYWRIGHTS FESTIVAL (1982) – Instrumental Score for a one-act play titled “It's Time for a Change,” directed by Elinor Renfield. Produced by Stephen Sondheim for the Dramatists Guild at Circle Repertory Theater. Approximately 13 min. 
  • NASTY RUMORS AND FINAL REMARKS (1981) – Instrumental Score for the play by Susan Miller, directed by Elinor Renfield. St. Nicholas Theater, Chicago. Instrumentation: Flute/Clarinet/Alto Saxophone/Oboe and Piano. Approx. 12 min. 
  • DOCTOR FAUSTUS (1981) – Instrumental Score for the play by Christopher Marlowe, directed by Patrick O’Gara. Oak Park Festival Theater, Chicago. (Private Archive Recording). Instrumentation: Flute, Trumpet, 2 French Horns, Trombone, Percussion, Violin, Cello, Bass. Approximately 30 min.
  • THE WINTER’S TALE (1978) – Vocal and Instrumental Score for the play by William Shakespeare, directed by Michael Maggio. Court Theater, Chicago. (Private Archive Recording). Instrumentation: Flute/Clarinet, Violin, Percussion (pitched and non-pitched), Piano. Approximately 30 min. 
  • MACBETH (1978) Instrumental Score for the play by William Shakespeare, directed by Patrick O’Gara. Court Theater, Chicago. Instrumentation: 3 French Horns, Piano and Percussion. Approximately 15-20 min.
  • THESMOPHORIASOUZAE (Ladies’ Day) (1977) – Prologue and Four Choral Odes for the play by Aristophanes, Translated and directed by Nicholas Rudall. Court Theater, Chicago. (Private Archive Recording). For women's chorus, piano and percussion.
  • ROMEO AND JULIET (1977) – music for the play by William Shakespeare, directed by Dennis Zacek, Oak Park Festival Theater, Chicago. Instrumentation: Woodwind Quintet. Approximately 25 min. 

 

Music for Film & Television: “ACT ONE” (2014), a new play based on the autobiography of Moss Hart, written and directed by James Lapine for Lincoln Center's Vivian Beaumont Theater and presented on Live at Lincoln Center; “LONG GONE CHARLIE” (1984), an awarding-winning half-hour film written and directed by David Davidson, shown at various film festivals and on the A & E Network. 

 

Concert Music includes:

  • CROSSING LINES: Six Movements for String Quartet (2023)
  • RIVERSONGS TRIO (2023) – Prologue and five movements for Flute, Clarinet and Piano 
  • THE PEARL OCTET: 12 Scenes for an Imagined Theater (2022) – for flute/piccolo/alto flute, clarinet/bass clarinet/alto & tenor saxophone,  trumpet, vibraphone & non-pitched percussion, piano, violin, cello, bass 
  • RIVERSONGS NONET (2022) – four movements for flute/piccolo, clarinet/bass clarinet,  French horn, trumpet, piano, violin, viola, cello, bass 
  • SUITE FOR CLARINET AND PIANO (2020) – in five movements
  • WINTER CAROLS (2020) – five movements for piano, four-hands, from the score for Scott Ellis' production at the McCarter Theater, Princeton, of Dickens' “A Christmas Carol,” adapted by David Thompson
  • BLACK LOOM TRILOGY EPILOGUE: Five Songs Without Words (2019) – for Jazz Sextet (2019). (Private Archive Recording)
  • ACT ONE SUITE for Solo Piano (2015), a six movement suite from the score for the play, “Act One,” written and directed by James Lapine for Lincoln Center's Vivian Beaumont Theater 
  • ”IT IS STILL DARK: Songs for Sondra – Songs of Exile (2003) – five songs for baritone-tenor, piano, bass and five percussionists (vibes, marimba, congas, bongos, timbales, guiro etc…) 
  • A CHILD’S GARDEN SONG SUITE (1994) – ten songs for voice and piano on poems by Robert Louis Stevenson. (Private Archive Recording)
  • INTO NIGHT AND ON THE VERGE (1993) – two movements for two pianos (or piano, four-hands)
  • ORCHARDS (1986) – two movements for two pianos (or piano, four hands)
  • FIVE RIVERSONGS (1985) for soprano, baritone and piano, four-hands on poems by Edgar Lee Masters. (Private Archive Recording)
  • RIVERSONGS (1980/1984), six movements for mixed chorus and two pianos on poems by Edgar Lee Masters
  • FOUR SONGS (1983) for voice and piano. (Private Archive Recording)

 

Additional Concert Suites from the Theater

  • SUITE: PEER GYNT (1998), in ten movements, vocal and instrumental, for 3 singers and eight players (Private Archive Recording)
  • AS YOU LIKE IT SONG SUITE (1997), three songs for three singers and guitar. (Private Archive Recording)
  • TWELFTH NIGHT SONG SUITE (1991), Overture and four songs for baritone and four players. (Private Archive Recording)
  • MOTHER COURAGE SONG SUITE (1993), 10 songs for four vocalists and three players. (Private Archive Recording)
  • MUSIC FOR GALILEO (1986), four songs and one dance for six singers and three players. (Private Archive Recording) 
  • MUSIC FOR THE TEMPEST (1987), nine movements, vocal and instrumental, for four singers and three players. (Private Archive Recording) 
  • THREE PIECES (1982) for Solo Piano.  
  • FIVE INSTRUMENTAL EPISODES FROM SHAKESPEARE (1978), for French Horn, Trumpet, Trombone, Piano, Percussion, Violin and Cello. (Private Archive Recording) 
  • THREE CHORAL ODES (1977), for women’s chorus, piano and percussion. (Private Archive Recording)

 

Awards include the Guggenheim Foundation Fellowship in Music Composition (2005); the NEA New American Works Grant (1995); The 2nd Gilman & Gonzalez-Falla Musical Theater Award (1992); ASCAP Awards, 1993-2022; Puffin Foundation Grant (2006); Anna Sosenko Trust Award (2006); Alfred P. Sloan Foundation Galileo Prize & Commission (2005); Chicago's John W. Schmid Award, Best New Work ("BOOK OF THE NIGHT", 1991); Semifinalist Prize - NYC Contemporary Music Symposium ("ACT ONE SUITE for Solo Piano", 2021); São Paulo Contemporary Composers Festival ("ACT ONE SUITE for Solo Piano", 2020/2022); five residencies at the Virginia Center for the Creative Arts (1988-1994); Gilman and Gonzalez-Falla Recording Grants ("A CHILD'S GARDEN", 1998, and "DREAM SUITE", 2002) and Production Grant ("A Child's Garden", 2000). 

Performance Highlights

“Karen Mason & Louis Rosen: Ages Since the Last Time,” 2 concerts at Chelsea Table and Stage in NYC, and 2 at Davenport's in Chicago, May 2024.

"Louis Rosen and Friends" at Birdland Theater, NYC, with David Mansfield, Dick Sarpola, Andrew Sterman and Kimberly Grigsby, and featuring the premiere of “Suite for Clarinet and Piano,” April 2022.

Louis Rosen and the Large Band - “I Don't Know Anything” at Birdland Theater, NYC, premiering the album, “I Don't Know Anything: An Album in Three Acts” with LR's Octet (the “Large Band”), January 2020.

“Phenomenal Woman,” two concerts at The Cabaret in Indianapolis featuring “Phenomenal Woman: Songs of Maya Angelou and Songs Without Words,” with Capathia Jenkins, May 2019. 

“Phenomenal Woman,” three concerts at Birdland Theater, NYC, premiering the album, “Phenomenal Woman: Songs of Maya Angelou and Songs Without Words,” with Capathia Jenkins and the Jenkins-Rosen Sextet, October/November 2018.

“Louis Rosen and Friends” at The Duplex, featuring selections from “Dust to Dust Blues” (with multi-instrumentalist David Mansfield) and “Act One Suite for Solo Piano” (featuring pianist Kim Grisby).  

"Karen Mason & Louis Rosen: Two Friends" at The Duplex, NYC, 3 concerts, December 2016.

"Dream Suite" at Birdland, with Capathia Jenkins, Alton Fitzgerald White and Kimberly Grigsby, June 27, 2016.

"Karen Mason & Louis Rosen: Two Friends" at Davenport's in Chicago November 2015 - 4 shows, and The Duplex in NYC, December 2016 - 3 shows.

"Love of Song: The Music of Louis Rosen", a Retrospective. 92Y, NYC, June 15, 2015.  Vocalists: Capathia Jenkins, Darius de Haas and Karen Mason. Musicians: Kimberly Grigsby, Dave Phillips, David Mansfield, Charity Wicks. 

"Louis Rosen - Time Was" at Davenport's, Chicago, March 2013

Joe's Pub at The Public Theater, NYC (15 concerts over five multiple show runs between 2003 & 2010)

Birdland Jazz Club, NYC (3 appearances between 2005 & 2009)

The Great Hall at Cooper Union, NYC (2 appearances, 2006 & 2009)

The Iridium Jazz Club, NYC (3 appearances)

WNYC's "Soundcheck," with host John Schaeffer (2 appearances, performance & interview)

The Metropolitan Room, NYC (5 appearances)

Harare International Festival of the Arts (HIFA), Zimbabwe, Africa (2 concerts)

Northwestern University's Lewis Theater, Evanston, IL (3 concerts)

Freight and Salvage, San Francisco, CA

The Steppenwolf Theater in Concert, Chicago, IL

The Eighth Step Concert Series at the Proctor Theater, Schenectady, NY (2 appearances)

The Gardenia Club, Los Angeles, CA (3 nights)

Washington, D.C.'s 6th Street & I Historic Synagogue with Theater J

Brooklyn Public Library's Dweck Center (2 appearances)

Brooklyn's Old Stone House

Makor at the 92nd Street Y, NYC

Teachers include: Leonard Bernstein, Stephen Sondheim, John Weidman, Arthur Laurents and Alfred Uhry (Composing and Writing for Theater); William Ferris (choral composition, orchestration, counterpoint and formal analysis); William Russo (music theory, counterpoint and jazz orchestration); Joseph Reiser (music theory and composition).