JungHae behind the piano (banner)

EDUCATION

  • Sweelinck Conservatory of Music, Advanced Certificate in Harpsichord Performance
  • Oberlin College Conservatory of Music, Masters of Historical Performance (Harpsichord)
  • Peabody Conservatory of Music, Bachelor of Music in Harpsichord Performance

COURSES TAUGHT

  • Third Year Musicianship
  • Score-Reading at the Piano I
  • Keyboard Harmony

ENSEMBLES

  • Ensemble Mirable
  • San Francisco Symphony
  • New Century Chamber Orchestra
  • Zurich Chamber Orchestra
  • Assisi Festival Chamber Orchestra
  • Seoul Virtuosi Chamber Orchestra
  • Philharmonia Baroque
  • American Baroque
  • Musica Angelica

AWARDS AND DISTINCTIONS

  • 2012 Ensemble-in-residence (with Ensemble Mirable),San Jose Chamber Music Society
  • 2005-2007 Grant (individual), Peninsula Artists Fund, Peninsula Community Foundation
  • 2006 Mayor’s Award for Recognition in the Arts, City of Brisbane, CA
  • 2004 Professional Development Grant (with Ensemble Mirable), Early Music America
  • 2002 Honorable Mention (Ensemble Mirable), Dorian/EMA International Recording Competition
  • 2000 Artist-in-residence, Arts Alive!, San Jose, CA 1999-2000

OTHER POSITIONS

  • CO-DIRECTOR, MusicSources, Berkeley, CA 2014-present Collaborated with and attracted leading figures in historical performance from around the world to Northern California. Directed outreach programs for young adults from diverse backgrounds
  • Member of the (I)nclusion, (D)iversity, (E)quity, and (A)ccess (IDEA) Taskforce, Early Music America

What is your favorite recording?

Ton Koopman’s recording (with the Amsterdam Baroque Orchestra and Choir) of Bach’s B Minor Mass. When I was a student living in Amsterdam, I turned Koopman’s pages during one of the recording sessions.

What is a favorite quote that you repeatedly tell students?

"Performing is not about you; it is about bringing to life the message of the composer” (Gustav Leonhardt).

What was a turning point in your career?

The year I spent studying with Gustav Leonhardt in Amsterdam. Every week was a revelation.

What are your most important collaborations?

Sigiswald Kuijken, Max van Egmond, Ton Koopman; touring with my colleagues from Ensemble Mirable.

What recordings can we hear you on?

The Virginalists, Magnatune
D'Anglebert: Pièces de Clavecin, 1689 Paris, Magnatune
Bach: Suites and Fantasias, Magnatune
Bach: Complete Harpsichord Concertos on Antique Instruments, Plectra
The Harpsichord, compilation of solo and Ensemble Mirable. released by Chang creative in South Korea.

What is your home town?

Seoul, South Korea

What are you passionate about outside of music?

I love downhill skiing, painting, my miniature poodle Higgins

Who were your major teachers?

Gustav Leonhardt, Bob Van Asperen, Lisa Crawford

JUNGHAE KIM’s unique style blends a sparkling virtuoso technique with a gentle and lyrical sensibility that makes the harpsichord instantly accessible to the modern ear. New York Arts described her playing as “impressive” and characterized by “a supple flow and expressiveness.” Early Music America raved, “I have never listened as closely or enjoyed D’Anglebert as much. Kim’s playing is gallant and regal.”

Kim earned diplomas in harpsichord performance at the Peabody Institute, Oberlin Conservatory, and Sweelinck Conservatorium before completing her studies with Dutch master Gustav Leonhardt in Amsterdam.

A versatile musician on historical keyboard instruments, Kim has appeared as a soloist with period-instrument ensembles as well as the San Francisco Symphony and New Century Chamber Orchestra. She has been featured on NPR and national Korean television (KBS).

A sought-after pedagogue, Kim has taught and performed at festivals around the world, including the Bloomington Early Music Festival, Berkeley Early Music Festival, Madison Bach Musicians Workshop, Hawaii Performing Arts Festival, Assisi Music Festival (Italy), Midsommer Baroque Music Festival (Denmark), and Chuncheon International Early Music Festival (Korea).

As co-director of MusicSources (Center for Historically Informed Performance), Kim advocates for historical keyboard performance and has been active in bringing early music to the San Francisco Bay Area. In 2016, she directed and appeared in a performance featuring Belgian virtuoso Sigiswald Kuijken. Kim is founder and artistic director of Ensemble Mirable, which has performed throughout the United States and was recognized by Early Music America for the ensemble’s world-premiere recording of the complete cello sonatas of Jean Zewalt Triemer. Besides her recordings with Ensemble Mirable, Kim’s discography includes albums featuring English virginal music (The Virginalists); the keyboard music of Jean-Henri d’Anglebert; suites and fantasias of J.S. Bach; and four of Bach’s harpsichord concertos.