Aaron Robinson
Updated: Oct 10
For Aaron Robinson, a lifelong fascination with American music began with an unlikely achievement: teaching himself one of the most famous—and notoriously challenging—pieces in the ragtime repertoire.
Born in 1970 in Camden, Maine, Robinson attended Medomak Valley High School in Waldoboro. At the age of 16, despite having never taken formal piano lessons, he taught himself Scott Joplin's celebrated Maple Leaf Rag. With its intricate syncopations, demanding left-hand patterns, and infectious melodies, the composition is a formidable undertaking even for experienced pianists. Yet for Robinson, it proved to be the beginning of an extraordinary musical journey.
His fascination with ragtime quickly blossomed into a much broader interest in American musical history. By his late teens, Robinson was not simply performing music—he was composing, arranging, producing concerts, and developing theatrical productions. Among his earliest ambitious projects was Moody Blue, a musical for which he wrote both the music and lyrics.
That early enthusiasm for musical storytelling would become a defining characteristic of his career. Whether working with a piano, an orchestra, a theatrical ensemble, or a gospel choir, Robinson developed an interest in music's ability to communicate history, emotion, and the experiences of ordinary people.
From Self-Taught Pianist to Accomplished Composer
Robinson eventually pursued formal musical studies at the Boston Conservatory of Music, studying composition and piano performance. His training included work with composers John Adams and Lawrence Thomas Bell, helping him develop the technical foundation needed to transform his musical ideas into compositions for a wide variety of instruments and ensembles.
His interests, however, were never confined to the traditional classical repertoire.
Robinson was equally captivated by the syncopated rhythms of ragtime, the expressive possibilities of early jazz, the sophistication of the Great American Songbook, and the dramatic power of Broadway and film music. Rather than viewing these traditions as separate musical worlds, he embraced them as interconnected chapters in the larger story of American music.
Over the years, he has become a respected lecturer and music historian, speaking extensively about early jazz, ragtime, Broadway, American popular song, and the composers who helped shape the nation's musical identity.
Robinson's own compositions reflect this remarkably broad range of interests. His catalog includes piano solos, chamber music, orchestral works, choral compositions, musicals, ballet scores, and music for film and television.
Bringing Langston Hughes' Black Nativity to Life
One of Robinson's most significant theatrical achievements came through his involvement with Black Nativity, the celebrated gospel song-play by poet and playwright Langston Hughes.
Originally presented in New York in 1961, Black Nativity combines traditional Christmas spirituals, gospel music, poetry, and dramatic performance into a powerful celebration of African-American musical and cultural traditions.
Robinson served as conductor and musical arranger for Black Nativity: In Concert – A Gospel Celebration, helping bring Hughes' work to a new generation of audiences.
The production attracted considerable critical acclaim, and its creation was documented for public television. The project also resulted in a successful Christmas gospel recording and a published vocal score.
The experience demonstrated Robinson's versatility as a musical director. Moving from the intricate precision of classical composition to the emotional intensity and rhythmic energy of gospel music requires a remarkably flexible musical sensibility.
His contributions helped introduce an important American theatrical work to audiences beyond its original stage productions.
Robinson's theatrical experience also includes serving as musical supervisor, conductor, and arranger for the musical Islands, presented at New York's New Victory Theater on 42nd Street in 2001. More than two decades later, he returned as artistic director for the anniversary production Islands Revisited in 2022.
A Passion for Ragtime That Never Faded
Despite his accomplishments across numerous musical genres, ragtime has remained one of Robinson's deepest passions.
His enthusiasm extends well beyond the familiar compositions of Scott Joplin. Robinson has devoted considerable energy to preserving and promoting the broader history of ragtime and early jazz, particularly the music of composers whose achievements deserve greater recognition.
One of his best-known piano compositions, The New England Ragtime Suite (1993), demonstrates his ability to write original music within the traditions of classic ragtime while maintaining a distinctive compositional voice.
The suite has been performed at ragtime festivals internationally and has been praised for its originality and faithfulness to the historical genre.
For Robinson, ragtime is far more than nostalgic entertainment. He considers it an essential foundation of American popular music, helping establish rhythmic and stylistic ideas that later influenced jazz, swing, and rock and roll.
In a 2019 interview with Maine Public, Robinson recalled the excitement of encountering the music of Maine ragtime composer Glenn Jenks at the Camden Opera House decades earlier. The performance left a lasting impression and helped inspire Robinson's subsequent efforts to celebrate Jenks' musical legacy.
Robinson eventually founded the Glenn Jenks Ragtime Revue, an event dedicated to preserving and performing the composer's music. The project also supports the Glenn Jenks "Future in Music" prize, an annual scholarship encouraging young musicians from Maine to continue their musical studies.
His enthusiasm for the genre is perhaps best captured in his own words:
"Ragtime is such a happy music. It was the first music I ever heard—that and church music. And I suppose when you think about Ragtime, you either play it, or you listen to it, because you want to be happy. It makes you happy."
That infectious enthusiasm helps explain why Robinson continues to be regarded as an important advocate for ragtime and early American jazz.
A Composer of Remarkable Range
Although ragtime occupies a special place in Robinson's musical life, his original compositions extend far beyond the piano.
Among his concert works are Sonatina for Bassoon and Piano, Suite for Band, An American Requiem, and Variations on a Theme by Handel for solo piano.
His catalog also includes more unusual theatrical and literary projects, such as The Tell-Tale Heart for narrator and piano, inspired by Edgar Allan Poe; The Amazing Bone, based on the children's story by William Steig; and Peter and Wendy, a ballet fantasy inspired by J. M. Barrie's beloved characters.
In 2014, Robinson's musical The Legend of Jim Cullen received its world premiere at Heartwood Regional Theater Company in Maine. The production explored a dark episode of local history through dramatic storytelling and original music.
Another particularly meaningful project emerged in 2017, when Robinson premiered This Will Be Our Reply to Violence, a choral composition using words by Leonard Bernstein. The piece was written in response to the 2015 terrorist attacks in Paris and drew upon Bernstein's belief in the power of artistic creation as a response to violence.
According to Robinson's official biography, this was the first time the Bernstein estate had granted another composer permission to set those words to music.
The work attracted recognition from Maine's U.S. senators, Angus King and Susan Collins, who praised Robinson's contributions to music and the arts.
Robinson subsequently collaborated with celebrated author and illustrator Ashley Bryan on A Tender Bridge, a large-scale requiem incorporating chorus, orchestra, soloists, children's choir, jazz ensemble, and narration.
His later piano compositions include a Piano Sonata (2023) and Toccata (2024), reflecting his continuing commitment to creating new concert music.
Recording, Writing, and Rediscovering Musical Treasures
Robinson's career as a recording artist is every bit as eclectic as his work as a composer.
His recordings have ranged from ragtime piano and early jazz to Baroque harpsichord music, orchestral organ repertoire, gospel, and original cast albums.
One especially noteworthy recording project was Max Morath – The Complete Ragtime Works for Piano, released in 2014. Dedicated to the compositions of the celebrated American ragtime pianist, entertainer, and historian, the recording received praise from such distinguished musicians and scholars as William Bolcom, Dick Hyman, and Edward A. Berlin.
Another album, La Belle Epoque – Musical Moments in Maine, showcases Robinson's more reflective approach to solo piano composition. In 2023, he published a collection of piano transcriptions from the recording, making the music available to other performers.
Robinson has also demonstrated a talent for communicating musical ideas through the written word.
His 2013 memoir, Does God Sing? – A Musical Journey, explores his experiences in music and the personal significance of artistic expression. The book achieved regional bestseller status through Barnes & Noble.
His work in television has brought additional recognition. Robinson received a New England Emmy Award nomination for the opening theme music to Maine Public Broadcasting's Maine Arts! series.
He is also a member of the Recording Academy, the organization associated with the Grammy Awards.
Keeping America's Musical Heritage Alive
Throughout his career, Aaron Robinson has combined the activities of composer, pianist, conductor, historian, author, and educator into a singular musical mission.
He is equally comfortable celebrating the elegance of a Scott Joplin rag, exploring the dramatic possibilities of musical theater, arranging the powerful harmonies of a gospel chorus, or composing an ambitious work for symphony orchestra.
What connects these seemingly different pursuits is his fascination with the history of American music—and his determination to keep that history alive through performances, recordings, scholarship, and new compositions.
Robinson's work is a reminder that preserving a musical tradition does not mean treating it as a museum exhibit. Music survives because people continue to play it, listen to it, reinterpret it, and find new meaning within it.
Today, Robinson lives on the coast of his native Maine, where he continues to compose and champion the musical traditions that have inspired him since his teenage discovery of Maple Leaf Rag.
More than four decades after first tackling Scott Joplin's famous syncopations, Robinson remains an enthusiastic advocate for the music that started it all—proof that sometimes a single piece of music can inspire an entire lifetime of artistic discovery.
Selected Performances
Bluet Rag (1997) - Bluet Rag is the 2nd movement of Robinson's New England Ragtime Suite. You can tell a lot about quality piano writing when the piece you are playing almost plays itself - when the hands and fingers are able to completely absorb the notes and melodies. Such is the case with this beautifully crafted piece. It's a wonderful example of the traditional ragtime form. I hope you enjoy listening to it as much as I enjoyed performing it!
Caterpillar Hill (2004) - This piece is from Robinson's album "Moments in Maine" and was dedicated to his good friend Ed Shreve who died of AIDS in 2004. Caterpillar Hill is in Blue Hill, Maine and was a favorite place of Ed's. His ashes are scattered there.
Ragtime Waltz (1994) - I love the dissonant harmonies Robinson used. The piece itself shifts around from key to key, making it a bit demanding to play, but well worth the effort!
Locating The Music
Aaron Robinson's music is available directly from his website at http://aaronrobinson.info/sheet-music/.
Compositions for Piano
12 Original Rags for Piano (1989)
The New England Ragtime Suite (1993)
La Belle Epoque - 12 pieces for Piano (2011)
James and the Boys (2016)
Prelude, Fugue and Choral “Le Petit” (2019)
Variations on a Theme by Handel - For Piano (2019)
