BA, ARCM, HonRCM
Jane Chapman, described as "Britain's most progressive harpsichordist" (The Independent on Sunday) and "the hippest harpsichordist around" (Metro), studied with Ruth Dyson at the RCM and with Ton Koopman at the Sweelinck Conservatory in Amsterdam. Her CDs of 18thcentury English music, The Lady's Banquet, and of the 17th-century French Bauyn Manuscript, offered the first extensive overviews of important sources previously unexplored on disc, and were both highly acclaimed. Other recordings include Rounds by Berio, awarded the Preis der Deutschen Schallplatten Kritik, WIRED featuring electroacoustic works by British composers, and the Oriental Miscellany the first transcription of Indian music in Westernnotation published in 1789.
Equally passionate about baroque and contemporary harpsichord repertoire, she has given the first performances of well over 150 works, many written specially for her. She has compiled and edited two issues of the scholarly journal Contemporary Music Review on the performance of new music for harpsichord. In the words of Harpsichord and Fortepiano magazine, "her progressive spirit and comprehensive technique have inspired composers to forge new parameters and sound worlds for the harpsichord with works of unprecedented musical and technological scope". Jane is an Honorary Fellow of Dartington College of Arts, and an Honorary Member of the Royal College of Music. Jane has been featured at many major festivals, and has recorded extensively for BBC Radio 3. Residencies have included UNAM, Mexico, UC Berkeley, USA, Goldsmiths College, London, King's College London, where she was recently artist in residence supported by the Leverhulme Trust. She is currently Turner Sims Fellow at the University of Southampton.
"... Jane Chapman plays with brilliance and sensitivity" (Classic CD )
"Jane Chapman is a fearless contemporary music performer...... you have to respect Chapman's virtuosity and guts"(The Guardian)
"With Jane Chapman one can count on technique to burn and faithful observance of stylistic conventions" (The Musical Times)