He was the composer of more than one hundred settings of Hebrew texts for the West London Synagogue, as well as numerous songs in English, French, German, Italian, Spanish, Latin, and Greek.

He elected a candidate for admission to Royal Academy of Music at the age of ten, but his mother decided that he should remain at school to pursue general studies.

[8] In 1830 he was commissioned to set to music, in cantata form, an ode written by his uncle Isaac Cowen for the third Shakespeare Jubilee Celebration at Stratford-on-Avon.

In 1836 at Bath, Salaman wrote his best-known work, a setting of Shelley's serenade "I arise from dreams of thee", published two years later in an album called Six Songs.

[9] Along with Henry Blagrove, Charles Lucas, and others, Salaman was a founding member of the Concerti da Camera chamber music organisation.

He received the rare distinction of honorary membership in the Accademia Nazionale di Santa Cecilia and the Roman Philharmonic Society.

[3] Salaman gave his last concert in 1876 and soon retired from active work, but continued to teach and serve as choir master and organist at the West London Synagogue until 1890.

[16] It includes a defence of the Mendelssohn family's renouncement of Judaism and a critical essay on the character of Shylock from a Jewish point of view.

[19] His last articulate words were "I arise from dreams of thee"—the title of his most famous song, of which he was reminded by hearing the name of Barton McGuckin, who often sang it, and who had just called to make inquiries.

[21] Salaman also adapted "He that Shall Endure to the End" from Mendelssohn's Elijah as a setting for Psalm 93 (Adonai Malakh), sung on most Friday nights in the Sabbath eve service of the London Spanish and Portuguese Jewish community.