In 1989 classical bassist-composer and founder of CutTime®, Rick Robinson (aka Mr. CutTime), became momentarily famous for being invited into the Detroit Symphony Orchestra without audition in 1989 to become only its 2nd African-American member since violinist Joseph Striplin joined in 1972. Robinson resigned this position 22-years later to emerge as an “accidental” American-romantic composer, a music director of two versatile ensembles, and a leading voice for reconciling Western classical music with a broader American public. He created the two unique ensembles, nearly 200 musical arrangements, 27 compositions including orchestrations, and simple yet effective methods for reframing the classical arts (besides music are stageplays, ballet, architecture, sculpture, and painting) for non-traditional audiences.
Robinson is a strong Enneagram Type-5, which explains his independence and why he built his artistic career mastering orchestral bass. For a time he annually played ambitious solo recitals, concertos, and even cello parts in string quartets. These led him to arranging, conducting, and composing to launch CutTime Productions (aka CutTime®), this unconventional mission-enterprise to create affordable access to, and broad appreciation for the valuable standards within the classical music tradition, with and without industry supports.
CutTime works to make classical click within broader circles.
He began to identify, test, and refine deeper goals and methods for meaningful engagement and music education. He arrived at condensing and Americanizing symphonic music both within and outside the arts environs. and giving quick overviews of its historical development within the first half of each introductory program. Robinson serves both the wider humanity, as well as the future of the orchestra industry, by translating the musicians’ why and how to reveal the shapes and ecstasy that unlock active listening and feed our spirits to endure. He learned how to flip the coin of understanding and turn negatives into positives. He interchangeably calls the resulting paradigm new classical, club classical, audience-centric, or classical soul.
The music critic for CVNC, Jeffrey Rossman wrote, “Mr. Robinson, in a sense, is a modern day Dvořák. Known as “Mr. CutTime,” this Detroit Symphony bassist is a passionate advocate for classical music and musicians stepping down from the pedestal of the concert hall and merging into the musical life of the community: schools, clubs, bars, coffeehouses…basically anywhere where people congregate. This is far from a new concept, but Robinson’s personality, aggressive advocacy of this, and his remarkable playing, composing and arranging skills put him in the forefront of this movement.”
Only emerging as a composer in 2003, Robinson began back in the 1970s by playing cello then bass in the public schools of Detroit’s inner suburb of Highland Park. His mother, a school psychologist, played classical piano and sang at home daily. His father, a university recruiter, sang folk songs with a powerful baritone and learned acoustic guitar.
His older siblings learned violin, cello, bass, and sax in public schools. The eldest began copying out popular music from the radio for his high school band. These were the foundations for Robinson to excel quickly in music, see the world, return to Detroit, and become an adaptive pioneer throughout his very unusual career.
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