Robin de Raaff Breda, discovered his own diverse musical world through playing classical piano as well as bass guitar from a very early age. Parallel with this early development he created his own music and lyrics for his Band where instrumental sections grew in significance, ultimately in to completely scored instrumental works. These instrumental compositions led him to enrol as a student of composition. De Raaff is of the generation of Dutch composers emerging in the nineties.
He first studied composition with Geert van Keulen at the Amsterdam Conservatory and later with Theo Loevendie, graduating cum laude in His special interest in this genre led him to compose many Concertos of which his Percussion Concerto commissioned by The New Juilliard Ensemble and premiered in Lincoln Center , is the most recent one.
Early in , his Symphony No. It is based on the famous painting by Willem de Kooning, a fellow countryman of De Raaff. The larger vision on this painting, Violin Concerto No. It is an intelligent if not entirely successful attempt on a tempting but, perhaps in the end, a dramatically intractable subject. The recording was quite successful, especially in 'surround' which brings the listener closer to the live experience.
Challenge put this work on a perfectly catered double album. Act I โ Work day Spring The entire pro- duction crew is on hold and Fox, the influential film producer, seethes at the thought of the financial consequences. When he learns that Marilyn has called in sick without him being notified, he is infuriated even more, and demands to speak to her personally, by telephone at least. Meanwhile Marilyn, unperturbed, poses for the young photographer Eve.
The mood is amiable and professional, the two women taking the occasional champagne break. Their conversations are dotted with moments in which Marilyn suddenly withdraws into herself, speaking into a tape recorder. She explains that this is how she communicates with her psy- chiatrist, being unable to talk to him directly.
