Composer, orchestrator, director, pianist, producer and publisher, from a French Pays de la Loire and Normandy musical family, François Servenière soaked in an artistic environment. Begining piano studies at the age of five with Lucienne Hubert, a Jean Doyen's student, he finished his musical studies by composing his first album for piano Exercice de styles, then for write disciplines in École Normale de Musique de Paris and private lessons under the guidance of Master Michel Merlet, Olivier Messiaen's student, Prix de Rome and professor at the Paris Conservatory. He wrote a hundred songs, many musics for short, long films and TV broadcast of which 101 are published by Universal Music Publishing. Since the early 2000s, he mainly devoted his time to the development of a concert repertoire which saw the birth, in a set of more than 30 opus containing more than 260 pieces, the outstanding Apologie des Fragrances (first symphony), Rhythmics and Repetitives (24 rhythmic studies for two pianos), Tribulations d'un écureuil lambda (7 piano works), Queue Diable ! (for piano, percussions and symphonic orchestra), Pavane pour un songe (for cello solo and symphonic orchestra), Seasons Vertigo (quadruple piano concerto for philharmonic orchestra), Inland Seas (violin concerto, orchestra and organ), Promenade sur la Voie Lactée (air for flute, piano, choir, arp and strings orchestra), Blessed Of God (guitar concerto), the Symphony for The Braves, the Cosmic Studies (for piano), 21ème Renaissance (sinfonia concertante in 1 movement), The Sacred Fire (concerto for two pianos and orchestra), HCQ 650mg (medication for solo violin and symphonic orchestra). His works have been principaly performed in France and worldwide by Hélène Berger, François-René Duchâble, Benoît Schlosberg, Martine Gagnepain, Tetsu and Masaki, José Eduardo Martins, the European Philharmonic Orchestra directed by Hugues Reiner. Pianist improviser, he is working on a method that will aim to structure the free instrument speech by repetitive exercises of cadenciels passages, inherited from 2, 3, 4, 5 voices writing structures.
He declares « The simple fact of composing music disturbs the ideological instances of contemporary music. »