1. Faculty

Corey Jamason

Chair, Historical Performance; Co-Director, Baroque Ensemble; Historical Keyboards, Historical Performance; Harpsichord; Music History and Literature

Distinguished Chair in Historical Performance

“[Jamason's playing of Bach displayed] the careful, due balance of objective detachment and lofty passion.”
—Los Angeles Times

COURSES TAUGHT

  • Private Lessons
  • Conservatory Baroque Ensemble
  • Continuo Playing and Baroque Improvisation
  • Keyboard Literature: Classical
  • Introduction to Performance Practice
  • Performance Practice: Baroque Era
  • Performance Practice: Classical Era
  • Performance Practice: 20th Century
  • Harpsichord and Fortepiano for Pianists

EDUCATION

  • DM, Indiana University
  • MM, Yale University
  • BFA, State University of New York, Purchase

ENSEMBLES

  • Theatre Comique
  • American Bach Soloists, 1999–Present
  • San Francisco Symphony
  • Philharmonia Baroque Orchestra
  • Los Angeles Opera
  • Musica Angelica
  • El Mundo

What is your hometown?

New York, NY

What are you passionate about outside of music?

Politics, reading fiction and poetry, and travel.

Who were your major teachers?

Richard Rephann at the Yale School of Music, Elisabeth Wright at Indiana University, and Anthony Newman at SUNY Purchase.

What was a turning point in your career?

Discovering Bach cantatas and other vocal works on period instruments while an undergraduate piano major. This led to the harpsichord and a life-long adventure and fascination with continuo playing and historically informed performance.

What is your daily practice routine?

Ideally, an hour of warm-up early in the morning, a break, followed by several two-hour sessions separated by breaks in between for the remainder of the day.

If you could play only three composers for the rest of your life, who would they be?

A difficult choice…but likely J.S. Bach, François Couperin, and Mozart.

From a music history perspective, what year and city are most important to you?

1730s, Leipzig.

What are your academic publications?

The Performer and the Composer, The Cambridge History of Musical Performance, 2012; and currently working on an article on late 19th century musical theatre performance practice for Oxford Handbooks Online.

What recordings can we hear you on?

1685 and the Art of Ian Howel, American Bach Soloists

Die höfische Blockflöte, Cornetto-Verlag

The Kingdoms of Castille, Sono Luminus

What Artemisia Heard, Sono Luminus

What is your unrealized project?

Currently working on several recording projects including The Goldberg Variations.