Robert Anton Strobel
Let's do meaningful music together.   


I create soul-satisfying, entertaining music without the paralyzing, constraining fears that often grip audiences when they hear the words "new music." I can write sensitively in practically any medium, working carefully with ensembles and performers to ensure a polished, highly engaging product. I want to return to the world of emotions. Promoting emotional health is important to my craft, as is contemplating the deep things.  

An outspoken critic of elitism in classical music, I fight against those who believe they are better than others. People who try to gain an audience by asserting their superiority have only dreamers who want a piece of the pie as their supporters. Sooner or later, we have to get rid of the high school ideals of who dresses the nicest, who went where, and who wins the most, and get down to what really makes a person a good artist: doing the things that reach real people. 




seeks to create the music you want to hear and help create. I can tell a story, can amuse, can provide something memorable, and can make you feel emotions. I can write in practically any style and convey anything that exists in a person's heart.

Now, take a deep breath as I summarize my achievements. No. The most important part of MY craft is my music. If you want to listen to that, go on to Spotify, YouTube, or my Soundcloud. Plenty of composers write music I don't care for but have a lot of achievements. I have a stinking suspicion, even though I respect people like you do, that you might not care for their music either. You should always take a composer biography with a grain of salt. The most important measure of a concert composer's success is the music, the audience, and how a composer is supported. Any top-notch university can fill a student composer's resume with impressive stuff without them even trying. This could have easily saved years off of a person's career a decade or two ago, except that now so many people do it that credibility is undermined. The most important factor for me as an artists is that yesterday (Nov. 29), 110 people listened to my music on Spotify in a single day. Onward and upward from there!

I have over 20 commissions. Among those commissions I have received include the Ladyslipper Ensemble, the Barlow Endowment (x2), some members of the St. Louis Symphony,  [TriO], The Missouri Quintet, among many others. I have gained varying degrees of recognition in the Brush Creek Foundation for the Arts, the Southwest American Prize, The American Prize in Orchestral Music, the Bruno Maderna International Composers Competition, the Missouri Orchestra Composers’ Project, the Alfred Schnittke Composer's Forum and Competition, and the National Flute Association (2x), etc. My music has been broadcast many times on radio stations. Other achievements remain unmentioned, such as conferences and festivals. My music has been published by Holy Sheet Music, Aldebaran Editions in Italy, and Forton Music in the UK. I have a doctorate degre, where I studied with Mark Wingate and Ellen Taaffe Zwilich.