About the creation

I am thrilled to present these compositions to you as a musical offering. These ten pieces for piano were composed at various periods - from the early 1970's until just recently, and are written in various styles, as befits my eclectic musical character.

There are very few instructions and dynamics in the notes. I decided to limit them and avoid translating the complexity of feelings into performance instructions. I find great beauty and empowerment in the idea that these pieces will be played differently by different people. The personal, unique and refreshing interpretation of each one of you, is exciting and intriguing. After all, when is music at its peak? When it expresses similar feelings in different ways. What is more marvelous and enchanting than hearing the same notes articulated by other people? I have added dynamics, tempo instructions, fingering, etc. – yet only a few.

I am curious to hear this music speak in various voices (as is common in jazz) and not by obligatory instructions. It allows the compositions more freedom to spread wings and fly. I recall that as a child I was angry with composers or teachers who forced me to play exactly as written. I am thrilled more by hearing mistakes and by courageousness than by obligatory uniformity of style.

So, my brothers and sisters, spread your wings and fly with these notes as you desire.

I hope you like what your fingers play.

Good luck, with blessings of love and musical fellowship,

Shlomo

P.S.1:

How I wish I could magically be there when you play my music. Let's pretend that I'm with you and listening to the sounds as they roll off the page...

P.S. 2:

Although I have declared my unwillingness to direct the performance, I would like to make a recommendation: in order to correctly feel the intentions of the composer, please aim to feel the timing precisely. You need to feel the values of the short notes so that they "sit" correctly, as in these two examples: "Mickey's Not a Mouse", bars 50-54, and "Transition", bars 54-61. Try to feel the sixteenth notes accurately, almost mechanically, and then the music will flow properly, or as said in rock: "It'll be groovy".