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  1. Performance Calendar
  2. Faculty Artist Series

Corey Jamason, harpsichord; Elisabeth Reed, viola da gamba, and Special Guests


Sol Joseph Recital Hall
50 Oak Street, San Francisco, CA 94102
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Free, no tickets or reservations required


Marin Marais
Piéces en trio for alto recorders and basso continuo

Michel Blavet
From Receuil de Piéces avec des doubles et variations
     Pourquoi doux rossignols                                                            
     Rondeau dans Zaide    

Georg Philipp Telemann
Fantasia No. 10 for solo harpsichord

François Couperin
from Troisiéme Livre de Piéces de Clavecin
     Muséte de Taverni
     La Julliet

Sonata in E Minor for Viola da Gamba and basso continuo

Clair Nicolas Roger   
from Sonata No. 2 por deux flutes traversières sans basse

Trio Sonata in C Major, TWV 42.C1              


Corey Jamason, harpsichord
Elisabeth Reed, viola da gamba
Astrid Andersson, recorder
Eva Legêne, recorder 

Artist Profiles

Corey Jamason harsichord
Corey Jamason is a GRAMMY nominated harpsichordist who has appeared as a harpsichordist with a variety of ensembles including the San Francisco Symphony, Los Angeles Opera, Philharmonia Baroque Orchestra, Musica Angelica, El Mundo, Musica Pacifica, Camerata Pacifica, and Yale Spectrum. Festival appearances include performances at the Berkeley and Bloomington Early Music Festivals, Bach Aria Festival, San Luis Obispo Mozart Festival, Whidbey Island Chamber Music Festival, Music in the Vineyards, and the Norfolk Chamber Music Festival. In 2007 Jamason conducted performances of Monteverdi’s Orfeo at the Bloomington Early Music Festival in celebration of the work’s 400th anniversary. Jamason is principal keyboardist with American Bach Soloists and co-director of the American Bach Soloists Academy held each summer at the San Francisco Conservatory. He is co-director and conductor of Theatre Comique, an ensemble dedicated to the rediscovery of late 19th and early 20th century musical theatre. Currently working on an article about early twentieth-century performance practice of American musical theatre for Oxford Handbooks Online, to be published by Oxford University Press, he is also a contributing author to The Cambridge History of Musical Performance, published by Cambridge University Press in 2012. Recent recordings include performances with American Bach Soloists, El Mundo, Astrid Andersson, and with the violinist Gilles Apap. Jamason studied at SUNY Purchase, Yale University and at Indiana University's Early Music Institute. Since 2001 he has been a member of the faculty of the San Francisco Conservatory of Music, where he is professor of harpsichord and director of the school’s historical performance program.

Elisabeth Reed viola da gamba
Elisabeth Reed teaches Baroque cello and viola da gamba at the San Francisco Conservatory of Music, where she is co-director of the Baroque Ensemble. Her playing has been described as, “intense, graceful, suffused with heat and vigor” and “delicately nuanced and powerful” (Seattle Times). A member of Voices of Music, Pacific Musicworks, Archetti and Wildcat Viols, she has also appeared frequently with the Seattle, Portland, Pacific, and Philharmonia Baroque orchestras, and at the Boston Early Music Festival, the Berkeley Early Music Festival, the Ohai Festival, the Whidbey Island Music Festival, and the San Luis Obispo Mozart Festival. A graduate of the North Carolina School of the Arts, the Oberlin Conservatory, the Eastman School of Music, and Indiana University’s Early Music Institute, she can be heard on the Virgin Classics, Focus, and Magnatune recording labels. She also teaches baroque cello and viola da gamba at the University of California at Berkeley. Performing highlights of recent seasons include performances of Haydn trios with Ian Swensen and Ken Slowik at the Smithsonian Institution in Washington, D.C.; 17th century German chamber music with Monica Huggett in Portland, OR; the St. John Passion with Steven Stubbs and Pacific Musicworks in Seattle, WA. Teaching highlights include master classes at the Juilliard School, the Shanghai Conservatory and Middle School, and the Royal Academy of Music. She is also a Guild-certified practitioner of the Feldenkrais Method of Awareness Through Movement with a focus on working with musicians and performers.

Astrid Andersson recorder
Astrid Andersson was born in Denmark and moved to the United States in 1989. She received a Bachelor Degree from Indiana Universiry, Jacobs School of Music, where she studied with her mother Prof. Eva Legene. She completed her studies with a Concert Diploma in Zürich, Switserland, where she studied with Matthias Weilenmann. Astrid Andersson was a finalist in the Moeck/SRP Solo Recorder Playing Competition in London, where she won both second Prize and the Audience Prize. Astrid Andersson appears in concerts in the US, Germany, Denmark, Holland and Japan, and teaches the recorder at Calw School of Music in the South of Germany. Two recordings have been released by Cornetto Verlag in Stuttgart. Die Höfische Blockflöte and Receuil de Pieces pour les Autres Instrumens. Receuil de Pieces pour les Autres Instrumens played by Astrid Andersson, Eva Legene, Corey Jamason, Anne Legene and Ricarda Hornych was chosen as Recording of the week in both Bayrischen Rundfunk and SWR 2.

Eva Legêne recorder
Eva Legêne is a recorder virtuosa known throughout Europe, North America, Australia, and Asia for her remarkable performances. Born in the Netherlands as member of the third generation in a large family of musicians, Eva Legêne studied with Frans Brüggen, and taught at the Sweelinck Conservatory in Amsterdam. After her marriage to a Danish mathematician she taught at the Royal Danish Academy of Music in Copenhagen for over a decade. In 1985 she became professor of music at Indiana University Jacobs School of Music, Early Music Institute in Bloomington IN, and director of the annual Recorder Performer’s Seminar, and Summer Recorder Academy. In 2009 she retired from Indiana University and now divides her time between Europe and the US. She continues concertizing and teaching master classes in Europe, Asia, and the United States. In collaboration with the faculty of the Composition Department of Toho Gakuen School of Music in Tokyo, she instigated and helped organize the Japanese New Music Festival at Jacobs School of Music that took place in October 2013. Eva Legêne is a frequent guest at international Early Music Festivals and appeared in concert with many renowned early music artists such as Frans Brüggen, Hopkinson Smith, Bruce Dickey, Sigiswald, and Barthold Kuijken, John Gibbons, Arthur Haas, Jacques Ogg, and her colleagues at Indiana University. She regularly tours the US with gambist Wieland Kuijken. As a soloist for contemporary music she premiered Bernhard Heiden’s Concerto for Recorder with the Minneapolis Chamber Orchestra, and performed Steve Stucky’s Concerto for Recorder and Orchestra (Etudes) with the New Music Ensemble at Jacobs School of Music in Bloomington. She premiered and recorded Gerald Plain’s Recorder Concerto with the Cleveland Chamber Symphony Orchestra (2007), and premiered several of her arrangements for recorder of solo pieces such as Per Noergaard’s Libra, Don Freund’s Day Dream (2012), and Hiroshi Ninomiya’s Tirade (2013). She has published several articles on the recorder and related historical issues, and was editor of the Recorder Education Journal. She has recorded for radio and television in Europe, the US, Australia, Canada, and Asia, and for the labels Telefunken, Denon, Focus, and Rondo Records. A recording with music by Telemann with Michael McCraw (bassoon), the late Washington McClain (oboe), and Corey Jamason (harpsichord), will soon be released by Focus Records. Her most recent concert tours have brought her to China, Japan, and the US.