Biography of Musica Bella Orchestra member Francois Nezwazky

Francois Nezwazky, harpsichord, began learning to play the piano at the age of seven in his home town of Detroit. During his early teens he was granted the Peterson Memorial Scholarship to study at the Michigan Conservatory of Music with Lawrence LaGore, the school’s director. He studied with Joseph Banowetz at the Interlochen summer music camp where he was awarded a full tuition scholarship to attend the University of Michigan School of Music as a major in piano performance. There he studied piano with John Kollen and chamber music with Eugene Bossart. His studies also included master classes in chamber music with the Beaux Arts Trio at Indiana University, and with the Chamber Music Society of Lincoln Center in New York City. After graduating from the University of Michigan, he moved to New York, where he has been teaching, lecturing, and performing. His many solo and chamber recitals in and around New York City have included performances at Lincoln Center and Carnegie (now Weill) Recital Hall. He has also lectured for the Leschetizky Association and the Piano Technicians Guild on the topics of historical tuning temperaments, and the acoustical interaction of piano hammers and strings. His article, “Should We Really Be Playing In Equal Temperament?,” was published in the News Bulletin of the Leschetizky Association. He is a Registered Piano Technician member of the Piano Technicians Guild, and is a Member of the Board of the Leschetizky Association. He has worked extensively as a piano technician in the New York metropolitan area. As a concert technician for Yamaha Artist Services, he has worked in many of the major halls of New York, including Carnegie, Weill, and Avery Fischer Halls, and has also prepared pianos for several commercial classical recordings of artists including Jon Klibonoff, Pamela Ross, and Charles Wuorinen. His work as a piano technician has led him to occasionally become involved with the tuning, repair and rebuilding of harpsichords and fortepianos. This has led, in turn, to an interest in historical tuning practices, and also to an understanding of harpsichord technique, quite different from piano touch, that has helped prepare him for these, his first public performances [January 20 and 27, 2002] on this instrument.
    Editor’s Note: The above paragraph was written prior to Mr. Nezwazky’s appearance on the harpsichord in Musica Bella’s first two concerts. Since that time, things haven’t worked out for him to rejoin us on the rare occasions that we’ve used a keyboard instrument; but now (October 2004) we have finally managed to find mutually agreeable schedules, and we are very happy that he will be playing with us occasionally in the future.

Musica Bella concerts: January 20, 2002; January 27, 2002; October 24, 2004; January 30, 2005; June 17, 2006; June 18, 2006