Shocking death of vibrant NY composer, 60

Shocking death of vibrant NY composer, 60


norman lebrecht

July 26, 2018

We are shocked to hear of the death of Glen Roven, an activist composer who was in regular touch with the Slippedisc community.

Glen died after 12 days in a coma and is grieved by his thousands of musicians whom he helped in varying capacities.

Among other things, he composed and produced records for Julie Andrews, Aretha Franklin, Leon Fleisher, Whitney Houston and Michael Jackson. He wrote film scores, concert works and musical satires such as this:

He conducted Frank Sinatra’s last TV concert on television and four presidential inaugurations.

He had his own label, Roven Records, and was always available to musicians who needed a studio session.

Glen was indispensable.


There will be a funeral for Glen Roven
Friday, July 27th 2018 at
Riverside Memorial Chapel
180 West 76th Street, NYC
11:00 a.m.

For those who cannot attend, the details for a memorial tribute to the man and his music will follow this fall.



  • Jeffrey Biegel says:

    So very deeply shocked by this news of Glen’s passing. He was loved by so many across many diverse musical and theatrical circles, and created projects out-of-the-box to bring music and art to thousands. (He gave one of my first chamber groups a recording to do with his brilliant, original musical score of ‘Runaway Bunny’, and brought a solo Chopin recording into his ‘family’ of classical releases). He will be tremendously missed, but his legacy is surely a strong testament to our historical fabric.

  • David Spinozza says:

    I am deeply saddened by this news. I recently did a project with Glen and had no idea he was in a coma. Shocking! He will be sorely missed.

    R.I.P. my friend.

  • william osborne says:

    Sorry to hear of his death.

    Were the Hillary Speeches written as a satire, or as a tribute? They were presented as part of a counter-inauguration for Hillary. Roven said, ‘Setting Hillary’s words was a very emotional experience. Phrases that fly by in a speech are naturally elongated in a musical setting, and as I set each word, slowly and methodically I was in tears. When I mentioned this project to these singers, their immediate response was, ‘I’m in.’”

    The settings sound like satires. Political speeches in operatic voices could hardly be anything else. It would be extraordinary if the satire were unintentional. Someone please explain.