R O B E R T I S R A E L
Q u o t e s & R e v i e w s
“Robert understands the correlation between the sound of music and the silence of film. He accents the moments without simply sentimentalizing the moment. It's easy to have an emotional moment on film, and have the music doing exactly the same thing, and that doesn't quite work. He understands that.”
Irvin Kershner, film director
–Star Wars: The Empire Strikes Back
–Never Say Never Again
–The Eyes of Laura Mars
“He understands silent pictures.
He doesn't overwhelm them.”
Peter Bogdanovich, film director
–The Last Picture Show
–Paper Moon
“Composer par excellence...Robert is helping modern-day audiences appreciate the silent-film experience at its very best.”
Leonard Maltin, film historian and
NBC's Entertainment Tonight correspondent
“It was a truly memorable evening.”
(Screening of SAFETY LAST).
Hugh M. Hefner, publisher
“There were a lot of pleasures for me...the other night, the greatest of which was to hear your orchestration accompanying THE BIG PARADE.”
Arthur Hamilton, composer
–Cry Me a River
“If I could play the piano as well as he does,
I wouldn’t play the organ.”
Stan Kann, Organist/Television personality
“It is with great pleasure and pride that I
offer my recommendation for Robert Israel.
He is a fine young man and a fine musician.
Whether performing as a soloist or with his ensemble, Robert will add a great deal to any
silent film screening, and (he) has vast experience
for his years.”
Gaylord Carter, Organist/Television personality
“Robert Israel brings exceptional talents to the world of film accompaniment. A brilliant scorer of films, classical pianist, conductor and orchestrator, he creates intelligent and sensitive scores which are always historically and musically appropriate for a film – now that is no small feat! I have tremendous respect for his work and consider him a true master of silent film scoring.”
Christian Elliott, Organist
“Naturally, we went for your wonderful
GREED (1925) score.”
Kevin Brownlow, Film Historian and
Academy Award recipient
“Working on Keaton, I just heard for the first time your score for THE BOAT, which truly is brilliant and perfect. Even though it's a great film, your music adds even more, which is a terrific achievement.”
David Robinson, Author and Director of
Le Giornate del Cinema Muto
(The Pordenone SIlent Film Festival).
R e v i e w s
GREED (1924) by Erich von Stroheim
“Topping it all off is Israel's melodious score that is churning and brooding by turns, and has flavors of Chopin, Wagner and Bernard Herrmann, just for starters...a new score by Robert Israel that is superior in every respect.“
Todd McCarthy, critic
and film-maker
The Harold Lloyd Comedy Collection
“Robert Israel's scores for Lloyd's movies, included in this collection, are magnificent, and they clarify and underscore the basic rhythm of the films.”
Philip Kennicott, critic
and Pulitzer Prize winner
LA ROUE (1923) by Abel Gance
“Music makes all the difference in a film like this, and it's easy to imagine how the experience might be rendered tedious if not for Israel's score. Israel delivers far more than background music. It's important to remember that silent films were never silent. Without a score of this caliber, contemporary audiences would find it virtually impossible to appreciate Gance's achievement.”
Peter DeBruge, senior film critic
and Features editor
THE UNKNOWN (1927) with Lon Chaney
“Excellent.”
Kenneth Turan, critic
GREED (1924) by Erich von Stroheim
“Majestic.”
Kevin Thomas, critic
PETER PAN (1924) by Herbert Brenon
“But the emotional high point of the festival had to be the screening of the 1924 silent PETER PAN. The combination of a disarmingly charming classic film, Robert Israel's masterful musical accompaniment on the Neptune's theater organ, and the good vibes of the movie-loving audience came together to create a rare happening - the kind of special moment that single-handedly justifies the concept of a film festival.”
William Arnold, critic
