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I first became aware of classical music as a young teenager. I had no idea it existed until a friend gave me recordings of Beethoven’s Appassionata Sonata and Seventh Symphony. I was enamored and would sit for hours playing and replaying favorites such as Debussy’s Claire De Lune, Offenbach’s Orpheus in the Underworld, and Strauss’s Emperor and Blue Danube waltzes. Gradually I realized that music was something special for me and that I couldn‘t live without it. I decided to become a composer. My progress was swift. At sixteen, I began my music studies with a private teacher, at eighteen I entered New York University’s School of Music Education and at twenty was accepted at the Juilliard School of music where I entered the composition program a year later.

I have always been a dedicated music improviser, sitting at the piano for many hours, experimenting and teaching myself. I did this for many years until I finally reached an original understanding of harmony, presented in my book, Avant Garde Piano Improvisation: A new Perspective on Twelve Tone Harmony. Briefly stated, I believe it is possible to retain “tonality” (i.e. cohesion and relevance to a tonal center ) regardless of how abstract and far reaching the harmony might become, and that “atonality” is an aberration.

After achieving this original harmonic knowledge my creativity flourished, coming to fruition in a profusion of works, including eleven piano concertos, forty art songs, and many works for various chamber ensembles. My extensive use of blues piano techniques combined with advanced harmonic combinations produces very original and colorful sounds, while the Hebraic influence in my music quite often results in unique and elaborate melodic formulations.

As a composer I am fortunate to have had most of my music performed. I believe the general success and acceptance of my music is the result of my basic philosophy, i.e. music is organic; it vibrates within us, awakening various aspects of our being. I believe that tonality originates from and coheres to physical, psychological and spiritual laws, and as such it is an expression of universal laws.

Review: Sonata for Trumpet & Piano
This sonata, the eighth in a series of solo sonatas presents the trumpeter with a very straightforward piece which is notable in its unassuming craftsmanship and clean melodic concept. Most trumpeters will welcome this sturdy little sonata to our repertoire. ITG Journal, 09/84

 Review: Piano Concerto # 6
The world premiere of Aaron Blumenfeld’s Piano Concerto #6 offered music that was both thought provoking and pleasing to hear. The first movement has a languorous, romantic sound; mellow with an edgy undercurrent. The rhythmically challenging second movement and the delicate, singing “Valse Triste” were performed admirably well. Peninsula Times Tribune, 11/91

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