Eishel could stand at the "Omud" (Altar) and start a piece like the long “Av Horachamin”, a prayer recited on Shabbath between Shacharit and Mussaf, a prayer about Jewish martyrdom. He would develop the theme in his own special pace and people would start to weep. But he wouldn't stop at that. He would continue to develop the theme further and further until like as my father in law Dovid Treitel who had himself a beautiful voice and was a great Baal Tefiloh told me: “The benches of the Synagogue were weeping”. This is Yitzchok Eishel.
Eishel has a totally natural way of singing. All his singing is based on the respiration and indeed his voice has a healthy airy quality which gives him an unusual flexibility, a rolling coloratura and the ability to sustain high notes on a smooth and beautiful mezzo-voce.
Eishel’s compositions and prayer have all a burning fire quality in them. On dramatic moments, it is a ravaging fire. On more gentle moments, it is a controlled fire.
I have heard him sing on the radio the piece “Nacheim” which is recited during “Sh’moynoh Essrei” on Tish’oh B’ov, a piece which he sang when he was already an old man. The drama and the broken heart he displayed there, made me feel like I was reviving again the destruction of Jerusalem and the burning down of the temple.
He is perhaps the greatest “Zoger” of all times.
Amongst the masterpieces composed by Eishel are the “Sim Sholoym” and the “Hasheim B’tziyon Godoyl”.