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Martha Bishop is an Artist Affiliate in viola da gamba at Emory University where she studied composition with John A. Lennon. She taught cello and composition at Agnes Scott College and is a Fellow in composition at the Hambidge Center. Martha chairs the VdGSA Traynor composition contest. Her recent commissions were from the Viola da Gamba Society of America, the Atlanta Baroque Orchestra, and Mountain Collegium Workshop, all for anniversary celebrations. One of her pieces is recorded on the Sony label by gambists Hille Perl on the Harmoni Mundi label. Some of her music has been showcased by ASTA. Compositions are published by PRB Publications, Tempo Press, Susato, the VdGSA, and SmartMusic, and several compositions are listed on Luck's Music Library.

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Joanna Blendulf, viol player and baroque cellist, has performed and recorded with leading period-instrument ensembles throughout the United States and abroad. Ms. Blendulf is currently co-principal cellist and principal viola da gamba player of the Portland Baroque Orchestra and has performed as principal cellist of Pacific MusicWorks, Pacific Baroque Orchestra, American Bach Soloists, Indianapolis Baroque Orchestra, Apollo’s Fire Baroque Orchestra, and the New York Collegium. Joanna is an avid chamber musician, performing regularly with the Catacoustic Consort, Ensemble Electra, Ensemble Mirable, Music of the Spheres, Nota Bene Viol Consort, and Wildcat Viols. She is also sought after as a teacher and chamber music coach and has served as a classroom and private instructor at the University of Oregon and the Berwick Academy. Ms. Blendulf is Associate Professor of Music in Baroque cello and viola da gamba at the Indiana University Jacobs School of Music.

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Sarah Cunningham: I started playing consorts with my family when I was twelve, never dreaming that I would become a professional. In the Boston area, I studied with Gian Lyman Silbiger and Marleen Montgomery, and instantly knew this was how I must spend my life. Later I went to the Netherlands to work with Wieland Kuijken, then to Boston, to London, to Ireland; I co-founded Trio Sonnerie, and performed and recorded with Fretwork, the Dowland Consort, Phantasm, Les Filles de Sainte-Colombe, as well as other groups. My solo double CD, Play This Passionate, is still a favorite around the world. In 2009 I moved back to the US to help my parents, just when the Historical Performance program at Juilliard was starting up, and now I teach viol and consort there. My teaching helps develop a flexible technique that can express all the characters, moods, and stories that the music has to tell.

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Laury Gutiérrez, praised as a “first-rate” instrumentalist by the Boston Globe, holds degrees from Indiana University and Longy School of Music and has also received fellowships and a scholarship from Boston University, where she did doctoral work in historical performance. She is the founder and director of La Donna Musicale, an internationally acclaimed ensemble that specializes in the performance of early music by women composers. Their four groundbreaking CDs, Antonia Bembo’s Psalms, The Pleasures of Love and Libation, and Anna Bon, have received critical acclaim at home and abroad She is also founding director of Rumbarroco: a Latin-Baroque fusion ensemble. Rumbarroco's CDs, Latin-Baroque Fusion, I’ve Found a New Baby: Baroque Meets Afro-Latin Jazz, and Latinas InFusion have been resounding successes with critics and audiences alike. Ms. Gutiérrez has been a fellow at the Radcliffe Institute at Harvard University, and she is a resident scholar at the Brandeis University Women’s Studies Research Center.

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Patricia Halverson holds a doctoral degree in Early Music Performance Practice from Stanford University. Following the completion of her D.M.A. at Stanford she studied viol at the Koninklijk Conservatorium in The Hague. A native of Duluth, Minnesota, Patty is a founding member of Chatham Baroque, a Pittsburgh-based ensemble. Recent collaborations outside of Chatham Baroque include concerts with Ensemble VIII, Four Nations, The Rose Ensemble, Empire Viols, J. S. Bach’s Sixth "Brandenburg" Concerto with the Pittsburgh Symphony Orchestra and Bach passion performances at Baldwin-Wallace and with the Buffalo Philharmonic and the Pittsburgh Symphony Orchestra. Patty has taught recorder and viol at summer workshops including the Madison Early Music Festival, Early Music Mideast and the VdGSA's annual Conclave.

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Jane Hershey studied at the Longy School of Music with Gian Silbiger and at the the Royal Conservatory in The Hague with Wieland Kuijken. Early on, she was a member of the Boston Camerata, and an active freelancer around New England. Often performing in the Aston Magna Music Festival, she was also a guest with Hesperus and the Smithsonian Chamber Orchestra and played for many seasons on violone with Arcadia Players. She performed with Laura Jeppesen at Boston’s MFA as Trio Charivary, and with the Carthage Consort at the Loeb Drama Center. As a member of Arcadia Viols, she has been a frequent guest with the Folger Consort. As Chair of the VdGSA Teacher Development Committee, she directs the Professional Development Initiative. Jane teaches in the Master of Music program at Longy School of Music of Bard College, at Powers Music School, and directs the Tufts Early Music Ensemble.

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Lawrence Lipnik has performed and recorded with many acclaimed early music ensembles and is a founding member of the viol consort Parthenia and vocal ensemble Lionheart. In addition to performing, his busy teaching schedule has included early music performance instruction at Wesleyan University, national and international festivals including the Benslow Music Trust in the UK, Collegium Director at Amherst Early Music, co-director of the Viols West Workshop in San Luis Obispo, California, and Viol Sphere in Tucson with Alison Crum. Recent performance highlights include concerts with lutenist Paul O’dette of Dowland’s complete Lachrimae at the Metropolitan Museum of Art, concerts at the Berkeley Festival, appearances with the Venice Baroque Orchestra, and early opera residencies at Carnegie Mellon University.  He is a contributor to The Cambridge Companion to Shakespeare and Contemporary Dramatists, and The Cambridge Guide to the Worlds of Shakespeare.

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Loren Ludwig is a viola da gamba player and music historian based in Baltimore, Maryland. He researches what he describes as "polyphonic intimacy," the idea that music in the Western tradition is constructed to foster social relationships among its performers and listeners. Current research/performance projects include the use of the viola da gamba in eighteenth-century British colonial America and the reconstruction of a lost tradition of Early Republic New England string ensemble playing. Loren's research on (and interactive recordings of) the "alchemical fugues" from Michael Maier's alchemical emblem book Atalanta Fugiens (1618) can be found at www.furnaceandfugue.org. Loren is a co-founder of LeStrange Viols and Science Ficta and performs with ACRONYM, Ruckus, and numerous ensembles in the US and abroad.

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Martha McGaughey studied with Jordi Savall and Wieland Kuijken. She is a founding member of the New York-based Empire Viols, which was in residence at Second Presbyterian Church for twenty years, as well as Gold and Glitter, with violinist Daniel Lee and Baroque flutist Sang Joon Park. She has recorded for the Fonit Cetra and Erato labels, as well as for EMI. She has twice been a Regents' Lecturer at the University of California. In 2015, she was a featured soloist with the China National Symphony in Beijing. She has taught at the Ecole Nationale de Musique in Angoulême (France), Stanford University, and since 1986 at the Mannes College of Music, where she currently teaches Baroque performance practice as well as a Performance Workshop for ESL students. She also teaches ESL at Building One Community, the Center for Immigrant Opportunity, in Stamford.

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Sarah Mead is a sought-after teacher of viol and Renaissance performance practice who has performed in consort and as a lyra-viol soloist around the US, and overseas in places as far apart as New Zealand, Australia, Japan, Brazil and the UK. She served for seven years as Music Director of the annual VdGSA Conclave, and edits a quarterly selection of music and commentary on both recent and historical works for viols for the Society. Her performing editions of historical and original works for viols are published by PRB Productions. In 2007 she received the Thomas Binkley Award from Early Music America for her work with the Early Music Ensemble at Brandeis University, where she is a Professor of the Practice of Music and has chaired the program in Medieval and Renaissance Studies. She is a founding member and the musical director of Nota Bene Viol Consort. Their 2020 CD of Pietro Vinci features a set of Brescian-style Renaissance viols.

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Heather Miller Lardin, an early bass specialist, is principal bassist of the Handel and Haydn Society and director of the Temple University Early Music Ensemble. Ms. Lardin is a regular member of the Philadelphia Bach Collegium and Tempesta di Mare. She serves on the faculties of the Amherst Early Music Festival and the Curtis Young Artists Summer Program and has been a guest violone instructor for Juilliard Historical Performance. In January 2021 she launched The Historical Bass Project, a three-month online immersion course in historical style for modern or period double bassists. Ms. Lardin co-directs Night Music, a Philadelphia-based, period-instrument chamber ensemble focused on music of the Revolutionary and Romantic eras. Night Music’s debut recording, “Music for a Viennese Salon” featuring works by Haydn, Kraus, and Dittersdorf was released by Avie Records in August 2020. A graduate of the Curtis Institute of Music, Ms. Lardin holds a DMA in Historical Performance Practice from Cornell University.

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John Moran teaches viola da gamba, Baroque cello, and musicology at Peabody Conservatory and has a large private studio at home. He is delighted to be serving as President of the VdGSA. He studied modern and Baroque cello at Oberlin, where he was fortunate to get his foundation on the viol with Catharina Meints. He studied Baroque cello at the Schola Cantorum (Basel) with Hannelore Mueller and subsequently earned a PhD in musicology at King’s College London, where his advisor was Laurence Dreyfus, all the while practicing viol in secret. He is a member of REBEL and a principal player with the Washington Bach Consort. He has played all over the US and in Europe. With violinist Risa Browder, he co-directs Modern Musick, in residence at Georgetown University. He is passionate about consort music and helping musicians learn to teach themselves.

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Rosamund Morley on treble, tenor, and bass violas da gamba, and their medieval ancestors, has performed with many renowned early music ensembles as diverse as ARTEK, The Boston Camerata, The Crossing, Les Arts Florissants, Piffaro, the Venice Baroque Orchestra, and Sequentia. She is a member of Parthenia, New York's premiere consort of viols, with whom she plays early and contemporary music, and for many years she toured worldwide as a member of the Waverly Consort. She teaches online and at the Neighborhood Music School in New Haven and in her Brooklyn, New York studio. Beginning in 2017 Ros was the Conclave Music Director; her four-year term culminated in the year of the Coronavirus with the creation of the first totally online VdGSA workshop.

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David Morris has performed across the US, Canada, and Europe on Baroque violoncello, viola da gamba, lirone, and bass violin. He has played continuo for the Boston Early Music Festival’s opera productions since 2013 and is a member of Quicksilver, the Galax Quartet and the Bertamo Trio. He is a frequent guest performer on the New York State Early Music Association and Pegasus Early Music series and has performed with Tafelmusik, the Boston Symphony Orchestra, Seattle’s Pacific MusicWorks, and the Mark Morris Dance Group. He has produced operas for the Berkeley Early Music Festival and the SF Early Music Society series and has been a guest instructor in early music performance practice at Cornell University, Amherst College, Oberlin College, the University of Colorado at Boulder, UC Berkeley, and the SF Conservatory of Music. He has recorded for Harmonia Mundi, New Albion, Dorian, Drag City Records, CBC/Radio-Canada, and New Line Cinema.

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Patricia Ann Neely has appeared with many early music ensembles and taught at many early music workshops. Recent appearances include the Smithsonian Viol Consort, the Washington Bach Consort, and Abendmusik. She was a founding member of Parthenia, spent three years touring with Sequentia, and participated in festivals in Utrecht, Berlin, Regensberg, Berkeley, Vancouver, and Boston.  Pat was on the music faculty of the Brearley School for 25 years teaching double bass, recorder and an early music string ensemble. She holds degrees from Vassar College (BA music) and Sarah Lawrence College (MFA–Historical Performance) and has recorded for many labels including Musical Heritage, Deutsche Harmonia Mundi, Erato, and Lyrichord.  Pat is a member of the Board of the VdGSA and chair of the Equity, Diversity, and Inclusion Committee (EDI) and is on the Board of Early Music America and Chair of the Early Music America Taskforce on Inclusion, Diversity, Equity, and Access (IDEA).

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Sarah Poon began her love affair with the viola da gamba during her years in the University of British Columbia’s Bachelor of Music program where she majored in violoncello performance. In non-COVID times, she is an enthusiastic member of the Vancouver viol scene, running small workshops, playing for church services and concerts, and playing consort music for the sheer pleasure of it. A former member of the Conclave management team (Team SPoon), Sarah’s favourite time of the year is Conclave week, where she considers all the attendees family. Sarah is an active cello and viol teacher and the manager and cellist for the Grace Notes String Quartet. Sarah lives in Gibsons, British Columbia, with her organist husband and soon to be four young children.

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Elisabeth Reed teaches viola da gamba and Baroque cello at the San Francisco Conservatory of Music, where she is co-director of the Baroque Ensemble. Recent teaching highlights include master classes at the Juilliard School, the Shanghai Conservatory and Middle School, and the Royal Academy of Music. Her playing has been described as, “intense, graceful, suffused with heat and vigor” and “delicately nuanced and powerful” (Seattle Times). A soloist and chamber musician with Voices of Music, Archetti, and Wildcat Viols, she can be heard on the Virgin Classics, Naxos, Focus, and Magnatunes recording labels and has many HD videos on the Voices of Music YouTube channel. She also teaches viola da gamba and Baroque cello at the University of California at Berkeley. She is a Guild- certified practitioner of the Feldenkrais Method of Awareness Through Movement, with a focus on working with musicians and performers. 

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John Mark Rozendaal teaches and performs music from the Medieval, Renaissance, and Baroque eras. He performs as a member of Trio Settecento, Brandywine Baroque, and LeStrange Viols. John Mark has performed with Chicago Baroque Ensemble, City Musick, Basically Bach, Newberry Consort, Orpheus Band, King's Noyse, Boston Early Music Festival, Second City Musick, and Hesperus, recordings on the Cedille and Centaur labels. A dedicated teacher, he is has served on the faculties of the VdGSA Conclave, Viols West’s annual workshop, Amherst Early Music, and Madison Early Music Festival. John Mark teaches the Viola da Gamba Dojo and Medieval Strings classes in New York City.

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Erica Rubis is a versatile performer on the viola da gamba whose work ranges from Renaissance viol consort to improvising and co-creating new music. She is a member of Alchymy Viols, Indianapolis Baroque Orchestra, Les Ordinaires Trio, and also plays with Bourbon Baroque, Catacoustic Consort, Echoing Air, and North Carolina Baroque Orchestra. She collaborates and performs regularly with composer/performer Tomás Lozano in his song project on the poetry of Juan Ramón Jiménez. Erica’s most recent recordings, with Les Ordinaires, Inner Chambers: Royal Court Music of Louis XIV and Montéclair: Beloved and Betrayed and contemporary music of Tomas Lozano, Eternal Juan Ramón Jiménez, were released in 2018 and 2020. Active in music education, Erica holds regular workshops on the viola da gamba for string students and has pioneered a multi-media program, Shakespeare's Ear, with regular tours and residencies in schools since 2009.

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Gold medalist of the seventh International Bach-Abel Competition (2018), Arnie Tanimoto is equally at home on the viola da gamba and baroque cello. Described by the New York Times as a “fine instrumental soloist,” he performs in venues across the United States, Europe, and Japan. The recipient of a 2017 Frank Huntington Beebe Fund Fellowship, he has also performed and recorded with Barthold Kuijken, the Boston Early Music Festival Ensemble, and the Smithsonian Consort of Viols. As a teacher, Arnie serves on faculty at the Mountainside Baroque Summer Academy as well as maintaining a private studio. He holds degrees and certificates from Oberlin Conservatory, the Eastman School of Music, The Juilliard School, and the Schola Cantorum Basiliensis.

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Lisa Terry is an avid chamber music performer and soloist on viola da gamba and violoncello. From her home base in New York City, she performs with Parthenia, Dryden Ensemble, Lyra Consort, Pegasus Early Music and TENET. She is principal cellist and viol soloist with Tempesta di Mare, Philadelphia’s baroque orchestra.  Lisa was a founding member of ARTEK, and has performed with the New York Philharmonic, New York City Opera, Juilliard Opera Orchestra, Orchestra of St. Luke’s and Concert Royal. She has appeared to great acclaim as soloist in the Passions of J.S. Bach throughout her career, and she serves the Viola da Gamba Society of America as Past-President. She is often heard in dance bands for Country Dance New York.

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Performing widely on the viola da gamba and Baroque cello as both a soloist and chamber musician, Zoe Weiss believes passionately in music’s ability to forge human connections. A founding member of LeStrange Viols, Science Ficta, and the Folk Baroque Trio, Zoe also performs regularly with the Oberlin Consort of Viols and the Smithsonian Consort of Viols. Zoe is a PhD candidate in musicology at Cornell University where she is writing her dissertation on networks of human and musical relationships within the Elizabethan In Nomine repertoire. A devoted teacher, Zoe works with viol players of all ages and levels at workshops and has been a Don M. Randel teaching fellow at Cornell and an instructor for the Cornell Prison Education Program.

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Brent Wissick has been teaching at VdGSA Conclaves since 1979 and served as President of the Society from 2000 to 2004.  He is Professor of Music at the University of North Carolina at Chapel Hill and has performed and taught throughout North America, Europe, Asia and Australia. He can be heard on numerous recordings.