“Rob’s compositions for the film “Our Mockingbird” and several American Experience films were exceptional. His musical skills are varied and many, and he is a pleasure to work with, often doing more than he’s asked, anticipating problems before they arise.”

John Kusiak, award winning composer of the Errol Morris film, Tabloid

“Rob was an outstanding member of the team as composer on “Follow” and “The History of Spectacle Island.” His creative innovation and knowledge of composition enabled him to hone in on the storytelling. He was a leader in taking responsibility to meet challenging deadlines and provided quality results under pressure.”

Elliot Higger, Filmmaker

“Rob’s work went above and beyond what we imagined, creating intricately detailed, responsive audio environments combining music, ambiance and sound effects to help create a realistic 18th century world. Rob is a hands-on, precision artist who knows what needs to happen for his creations to come to life”

Dan Silvers, CEO

“Rob is a caring professional who is fast, efficient, and attentive. We contracted him for voice recording and audio work and his deliverable format and organization changed the way we think about our audio pipeline. It was a pleasure working with him, and I look forward to doing so again.”

Jon Meyers, CEO

Dante Dances

Jamie and Haley from Urbanity Dance

Jamie and Haley from the Dante FestivalSome pictures and music from the Isabella Stewart Gardner Museum’s Dante Festival, where Urbanity Dance and I collaborated on a performance inspired by the middle ages poet.
Meghan at the Dante Festival

The inspirations for the music and improvisations were drawn from Cantos V (The Lustful) and XXV (The Thieves) from Inferno, and Cantos X (Sphere of the Sun) from Paradiso. While the text has proved timeless by its influence on both high and pop culture (Dante’s intent all along – Divine Comedy intends to mix the divine with the “vulgar;” it was also one of the first serious pieces written in the “low” Tuscan, helping to elevate it to the official Italian language), so has the courtyard where the dance took place, living meticulously circa 1919 as stipulated by Mrs. Gardner’s estate. Both are also ancient, with the Gardner courtyard containing architectural elements that date from before year 0, more than a millennium before even the Divine Comedy was written. I tried to reflect these qualities in the conception of the piece. One of my favorite moments, from “Lovers,” is the reference to Lancelot, as relevant here and now as it was there and then, already more than a century after it’s introduction into the literary canon.

Meghan from Urbanity Dance at the Dante Festival

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