As with CutTime Players, Simfonica shows also feature lively transcriptions from hit symphonic such as Chabrier’s Espana Rhapsody, Enesco’s Romanian Rhapsody, and piano works, such as Beethoven’s Pathetique Sonata and Rachmaninoff’s Prelude in g-minor Op 23, No. 5. Sheet music for many of these works are also available for purchase.
Robinson also wrote two powerful elegies. The first is a dramatic Elegy recalling Bach and Beethoven, while First Grief (2011), for his father, locks the foundation for the classical soul style Robinson has pioneered.
Robinson’s new works refresh the tonality and composing conventions of German-Romanticism, so they work in our time. By recalling many favorite composers, such as Brahms, Dvorak, Hindemith, Strauss and Mahler, Robinson invites new audience to see their own, and others’ humanity, in and around the classical music canon. Rich melodies, modulations and counterpoint, plus strong development mirror “the natural flow of human emotions” the ancient Greeks hoped for. Hundreds of haunting works build to multiple climaxes that often lead to small epiphanies or catharsis-es, or at least a good time.
CutTime collaborates often, to reconnect the humanities (spoken word, drama, geometry, architecture, dance, Olympics and even democracy) to instrumental music (sonata). In 2010 CTS began working with Detroit Jit grand-masters Hardcore Detroit to choreograph City of Trees and Pork ‘n Beans. Recent readings with Detroit poets are expanding into bolder plans. A recent addition is Robinson’s music for Louis Aguilar’s stageplay Art As a Weapon: (Five Scenes of Frida and Diego in Detroit) in 2015.