- Performance Calendar
- Faculty Artist Series
Historical Performance Faculty Recital
Our renowned and beloved Historical Performance faculty presents the chamber music of Purcell, Leclair, Buxtehude, and Pepusch with special guest Carla Moore, baroque violin.
Elizabeth Blumenstock, baroque violin
Carla Moore, baroque violin
Corey Jamason, harpsichord
GretchanClaason '12, baroque cello
Matheus Coura '19, countertenor
Trio Sonata in G Minor
Preludio - Adagio-Prestissimo-Adagio
Aria con Divisione per far la mano
Aria sminuita per far la mano
Fantasia in 3 parts, No. 2, F Major, Z. 734
Pavan in Bb Major, Z. 750
‘Here the Deities approve’, Z. 339/3
Sonata in Four Parts in D Minor, Z. 805
Trio Sonata in A Major, op 3, No. 12
Trio Sonata in E Major, Op. 5, No. 3
Duo in B Minor op. 12, no. 1
Allegro ma poco
George Frideric Handel
Trio Sonata IX in E Major, HWV 394
Elizabeth Blumenstock is a long-time concertmaster, soloist, and leader of the San Francisco Bay Area’s Philharmonia Baroque and American Bach Soloists, concertmaster of the International Handel Festival in Göttingen, Germany, and artistic director of the Corona del Mar Baroque Music Festival. Her devotion to playing chamber music has led to her work with several accomplished smaller ensembles including Musica Pacifica, Galax Quartet, Ensemble Mirable, Live Oak Baroque, and Voices of Music. Blumenstock joined the faculty of Juilliard’s Historical Performance program in 2016, and also teaches at the San Francisco Conservatory of Music, American Bach Soloists’ summer Festival and Academy, International Baroque Institute at Longy, and at the Valley of the Moon Music Festival.
Elisabeth Reed teaches Baroque cello and viola da gamba at the University of California at Berkeley. She also teaches Baroque cello and viola da gamba at the San Francisco Conservatory of Music, where she is co-director of the Baroque Orchestra. Her playing has been described in the press as, “intense, graceful, suffused with heat and vigor” and “Elisabeth Reed provided the authentic Baroque sound, with her delicately nuanced and powerful playing of the Baroque cello and viola da gamba.”
A member of the American Bach Soloists, Voices of Music, and Wildcat Viols, she has also appeared with the Seattle, Portland, 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. She is a Guild-certified practitioner of the Feldenkrais Method of Awareness Through Movement, with a focus on working with musicians and performers.
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.” He appears frequently with American Bach Soloists, with whom he is principal keyboardist and has performed with a variety of ensembles including the San Francisco Symphony, Los Angeles Opera, Philharmonia Baroque Orchestra, Musica Angelica, Camerata Pacifica, Yale Spectrum, Musica Pacifica, and El Mundo. Festival appearances include the Berkeley, Bloomington, San Luis Obispo Mozart, Music in the Vineyards, Whidbey Island, 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 its premiere and from 2007 to 2014 was artistic director of the San Francisco Bach Choir.
Mr. Jamason is co-artistic director and conductor of Theatre Comique, a new ensemble specializing in late nineteenth and early twentieth century American musical theatre. Recordings include performances with American Bach Soloists, violinist Gilles Apap, recorder player Astrid Andersson, and El Mundo, with whom he performs on the 2012 GRAMMY-nominated CD The Kingdoms of Castille. He is a contributing author to History of Performance, published in 2012 by Cambridge University Press and is preparing an article on the performance practice of early 20th century musical theatre for Oxford Handbooks Online, to be published in the fall of 2014 by Oxford University Press. Jamason received degrees in music from SUNY-Purchase, Yale University, and the Early Music Institute at Indiana University where he received a D.M. degree. He joined the faculty of the San Francisco Conservatory in 2001, where he is director of the school’s historical performance program and professor of harpsichord.