Chair of Historical Performance and Co-Director of SFCM Baroque Orchestra Corey Jamason is a Grammy-nominated harpsichordist whose playing of Bach was described in the Los Angeles Times as displaying "the careful, due balance of objective detachment and lofty passion."

Program

Johann Sebastian Bach: The Well-Tempered Clavier, Book 1
    Prelude and Fugue in B Major, BWV 868
    Prelude and Fugue in F# Major, BWV 858

J.S. Bach: Ouverture in the French Style, BWV 831, from Clavier-Übung II
    I. Ouverture
    II. Courante
    III. Gavotte I and II
    IV. Passepied I and II
    V. Sarabande
    VI. Bourrée I and II
    VII. Gigue
    VIII. Echo

-Intermission-

J.S. Bach: Selections from 15 Sinfonias
    II. Sinfonia in C Minor, BWV 788
    X. Sinfonia in G Major, BWV 796 
    XI. Sinfonia in G Minor, BWV 797
    III. Sinfonia in D Major, BWV 789 
    XIV. Sinfonia in B-flat Major, BWV 800

J.S. Bach: Capriccio ‘sopra la lontananza del fratello dilettissimo’,  BWV 992
    I. Arioso: This describes the affectionate attempt of his friend to deter him from embarking on a journey
    II. Andante: This is a description of the misfortunes which could befall his friend in a sojourn in distant climes. 
    III. Adagiosissimo: This is a mutual lamentation of both friends
    IV. Andante con moto: Friends bid each other farewell, since they see that the departure cannot be avoided. 
    V. Allegro poco: Aria of the postilion
    VI. Fugue, in imitation of the postilion’s horn

J.S. Bach: Concerto in D Major, BWV 972, arranged from a violin concerto by Antonio Vivaldi
    I. Allegro
    II. Larghetto
    III. Allegro

Featured Artist

Corey Jamason, harpsichord

Corey Jamason’s playing of Bach has been described in the Los Angeles Times as displaying a “careful, due balance of objective detachment and lofty passion." And the San Francisco Classical Voice raved about a performance of Bach’s Chromatic Fantasy and Fugue: “simply put, the best performance I’ve ever heard of this piece…his harpsichord touch was phenomenal, and those listeners who believe the instrument incapable of dynamic contrast could have received a sharp corrective from Jamason’s ebbs and tides in this fantasy.” Corey has performed with a variety of ensembles including the San Francisco Symphony, Los Angeles Opera, Cantata Collective, Philharmonia Baroque Orchestra, Musica Angelica, Yale Spectrum, Musica Pacifica, El Mundo, and Camerata Pacifica, for whom he directed a series of concerts for several years in southern California. Jamason appears frequently with American Bach Soloists, with whom he is principal keyboardist and co-director of the ABS Academy. Festival appearances include the American Bach Soloists Bach Festival and the Berkeley, Bloomington, Corona del Mar Baroque, San Luis Obispo Mozart, Music in the Vineyards, Whidbey Island, Tage Alter Musik Regensburg (Germany), Echi lontani (Sardinia) and Norfolk festivals. In 2007 he conducted performances of Monteverdi's Orfeo at the Bloomington Early Music Festival in celebration of the 400th year anniversary of the opera’s premiere and from 2007 to 2014 was artistic director and conductor of the San Francisco Bach Choir. Recordings include performances with American Bach Soloists, Nic McGegan and the Cantata Collective, violinist Gilles Apap, recorder players Eva Legêne and Astrid Andersson, and with El Mundo, with whom he received a GRAMMY nomination in 2011. He is also a contributing author to the History of Performance, published by Cambridge University Press in 2012. Born in New York City, Jamason received degrees in music from SUNY Purchase, Yale University, and the Early Music Institute at Indiana University. Jamason has an avid interest in pursuing original performance practices in the performance of American musical theatre music. He is conductor and co-artistic director of the Studio for the Early American Musical, a San Francisco-based ensemble specializing in musical comedy from Broadway and vaudeville from the first decades of the twentieth century. He is a member of the faculty of the San Francisco Conservatory of Music where he is professor of historical keyboards and chair of the school’s Historical Performance program.