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The essence of his performance, specially in the classics such as Mozart and Beethoven, is based in the perfection and individuality of each sound, thus creating a flowing philosophy-of-sound world, with phrases, harmonies and counterpoints. It all gives birth to an infinite range of colors, all shiny. A fusion of technique and musical maturity aimed at reproducing almost exactly the feelings of the compositors. "My performance- states Messulam- is based in the rigorous and detailed observance of the score in order to comply with all of the compositor's footnotes. My submission to the written law and to the author's style is absolute. By looking into the sonority of chords and arpeggios, by balancing the weight of the arm, by investigating with the fingers the speed of sounds, by breaking up the sounds in a constant search for orchestral sonority, by applying the right touch I faithfully represent the autor's motives and display individual creativity. When I finish the preliminary stage- he goes on- I focus on the study of the musical piece ideally- setting the instrument aside- in order to seize the spirit, the aesthetics, the drama of the piece. I stick to the compositor's objectives, paying special attention to the specific movements, that is to say, the speed of the pulse in a Minuet as the G mayor or the G minor from the book by Ana Magdalena Bach, is not the pulse of a tarantella, as it is flequent to hear, even in recordings of international origin. The most difficult task, and that should be the aim of all pianists, though is not an easy task at all, is to artistically display each tiny component of the musical piece in the performance, so that it fuses with the audience in this sort of codification of emotions and aesthetics, thus sending the burden of energy intended by the compositor -through the pianist's performance- to the audience, that is moved by this magic, embedded of unique experiences. When this is the case, the concert achieves real success."