Zenon Fishbein was legendary piano teacher at the Manhattan School of Music. Born in Argentina, from Russian parents, he made his official debut to the general acclaim of the press at thirteen. As a recipient of a fellowship from the Argentinian government he traveled to Rome, Vienna and Paris where he studied and coached with such eminent artists as Carlo Zecchi, Walter Gieseking, Paolo Denza, and Margherite Long. He held a degree from the Academia di Santa Cecilia in Rome, a diploma from the Salzburg festival and a MM from the Manhattan School of Music, where he studied Dora Zaslavsky and upon graduation, received the Harold Bauer Memorial Award.
A winner of numerous awards at international competitions held in Geneve, Rome, Vercelli, and Buenos Aires he appeared in hundreds of concerts worldwide, solo recitals, as well as a soloist in chamber music and orchestra events. He collaborated for joint concerts with Herta Gatz, Jens Nygaard, Justino Diaz, and Mishel Piastro. His broad range of repertory included a cycle of recitals dedicated to the works of Chopin, a series by romantic composers, and the premiere of contemporary piano works. He was a guest at universities in Seoul, Mania, Beijing, New York, and London offering master classes and lectures. A former chairman of the screening committee for the Fulbright grants for studies abroad, he also served as a frequent adjudicator in international competitions. He was also the founder of Midsummer Music, dedicated to sponsoring music festivals in the Italian cities of Pesaro, Urbino, Sulmona, Caprarola, and Tivoli. He was a former faculty member of the Hartt College of Music, Brooklyn College, and Hanse University in Korea. A recording artist for the Sound Starton label in Germany, he was a contributor to many musical publications. May among the students whom he taught are presently enjoying successful careers as performers and educators. When writing about Mr. Fishbein’s debut, the late Harold Schonberg of the New York Times called it, “unusually impressive,” “a real talent,” “large scale scale playing,” “wide dynamic scheme,” “personal ideas with more to offer than the majority of recitalists.” Other critics have said: “master of the grand manner” —Theodore Strongin, The New York Times “A marvelous colorist…easy confidence, strong technique, glittering piano sonorities. A fine pianist indeed.”