Not many years later, he began to petition his bewildered parents for either an organ or harpsichord. Of course, such instruments were beyond the budget of a working-class family in the late 1950's, so they bought him what they considered the next closest thing: a shiny, black and silver accordion. Determined to learn to play this instrument, he cut his musical teeth, so to speak, by learning the polkas, redowas and waltzes that were part of his family's German and Austro-Hungarian heritage.

Not satisfied with his unrealized musical aspirations, Greg saved his money--not for a car as did so many of his teenage peers--but for a harpsichord. On this and subsequently larger instruments he began to apply himself to Baroque keyboard music, especially the works of French masters and J. S. Bach.

In pursuit of an authentic, lyrical harpsichord technique, he studied with several teachers, the most influential being Katherine Roberts Perl (teaching today in the San Francisco area) who he still regards as his musical mentor. In the early 1980's, after studying historical keyboard temperaments, he wrote a series of articles entitled The Ill-Tempered Tuner for the Los Angeles Harpsichord Society about the relative ease of tuning such temperaments by ear.

Quite naturally, Mr. Vozar's interest in the Baroque dovetailed with his interest in singing and vocal music. He decided to focus on 18th century opera seria and the unique male soprano and alto vocalists who were its chief ornament. He began a study of great castrato voices of the High Baroque which resulted in another series of articles, entitled Silver Voices In Song, written for the Southern California Early Music Society.

Mr. Vozar is also a noted collector as well as a musician. His personal collection of historical books, publications, rare autograph documents and ephemera relating to the great castrati (recently donated to a private research facility) is one of the finest in the United States.

In recent years, Mr. Vozar has returned to the accordion, an old friend, and has taken up the bandoneon because of his passionate interest in Argentine Tango. He also writes a regular review column for La Voz del Tango an English language tango magazine published in the Los Angeles area. He firmly believes that the free-reeds are absolutely the most sensitive keyboard instruments available to musicians, surpassing even the clavichord, one of his former favorites. He presently serves as a staff reviewer and co-webmaster for The Classical Free-Reed, Inc.