Conclave 2009 titles

Welcome Letter on-line

The Conclave welcome letter is now available on the web site. Get yours here.

Conclave 2009 Features

  • Special Programs
    • Beginning Viol
    • Seasoned Players
    • Consort Cooperative
  • Mini-Concerts
  • Student Concert
  • Ad-hoc Playing
  • Dom Zuchowicz: Viol Care
  • Boulder Early Music Shop
  • VdGSA Store
  • Builders' Exhibits
  • Live and Silent Auctions
  • Town Meeting
  • Young Players' Gathering
  • Banquet and Entertainment
  • The Leo Traynor Competition Concert Thursday, July 30 at 7:30 p.m.
  • The Newberry Consort presents "Queen Elizabeth" (1912) starring Sarah Bernhardt: early music and an early movie.

Founded in 1846 by the Sisters of Mercy, Saint Xavier University is a Catholic, coeducational, comprehensive university grounded in the tradition of the liberal arts and offering undergraduate and graduate degree programs to 5,705 students from across the country. The Chicago Campus, built in 1956, is a 74-acre space that offers all campus amenities including six residence halls. In 2006, SXU opened its first green student residence facility, Arthur Rubloff Hall, which became Illinois' first university building to receive the coveted LEED Gold designation from the U.S. Green Building Council. Agatha O'Brien Hall, also built to LEED Gold standards, opened in fall of 2008. These beautiful living quarters double as educational facilities in which the resident students learn to live in harmony with the planet.

Two housing options are available. Apartment style dorms consist of suites of 2 bedrooms (each of which can be a double or single). Each bedroom has its own bathroom. The living room area features sofa and chairs, 2 lamps, floor to ceiling windows, and room enough for a consort of 6 good friends. The kitchenette has an eat-at bar, microwave, fridge, and sink. We have room for 100 people in these dorms. Traditional dorms are economy rooms with shared bath down the hall, however each room has its own sink. Rooms have more space if beds are left bunked. All facilities are air-conditioned, ADA accessible and have elevators.

On Wednesday, the first afternoon class ends early and the fourth class is not held so that you may explore the area. You may choose to take a cruise tour of Chicago's architecture, delight in the Shedd Aquarium, visit the many museums, the Newberry Library, or shop the stores and markets. The difficulty will be choosing!

Schedule of events
Registration begins at noon on Sunday, July 26, in the lower lobby of Rubloff Hall. Early arrival on July 25 may be arranged (see housing sheet). Our first meal is dinner Sunday evening, followed by orientation, an informal faculty concert, and welcoming get-together. Classes are Monday through Saturday. Please note that Saturday's classes will be full length. Activities include organized consort playing during 4th period and some evenings, a live auction (Monday), the Leo Traynor Competition Concert and Reception (Thursday), a banquet (Friday), and student performances (Saturday). Wednesday evening is free for you to explore the area's amenities. The week ends with breakfast Sunday morning, August 2; check-out time is 11 am. Please note that the program is planned to accommodate a maximum of 125 full-time students. If you are not sure about attending, we recommend that you sign up anyway, so as to assure yourself room and class space. You may cancel without penalty until June 15.

A "welcome" letter containing many Conclave details, including travel, will be mailed out beginning in mid-April. Please note that Midway Airport is the most convenient to the campus. This welcome letter will be available on this website.


Scholarship applicationsApril 25
Consort Cooperative applicationsMay 1
Late registration fee applies afterMay 15
Registration closesJune 15
Last cancellation dateJune 15
This year there are four possibilities for housing on campus:
  • Apartment-style dorm - single
  • Apartment-style dorm - double
  • Traditional dorm - single
  • Traditional dorm - double
For more details, get the whole story here.

Faculty | Programs | Fees | Classes | Contacts


Faculty and Staff

Martha Bishop, Music DirectorDominik Zuchowicz, Viol Doctor
Kathy Schenley, Conclave CoordinatorLouis Bégin, Bow Rehairing
Alice Renken & Jean Seiler, Conclave AssistantsKen Perlow, Local Host
Sarah Tippett, Scholarship Coordinator and Concert Manager

Faculty bios:

Jack Ashworth, Director of the University of Louisville Early Music Ensemble since 1977, has been guest continuo player with groups including Trio Settecento, Fretwork, the Folger Consort, and the King's Noyse, as well as for solo artists including Wieland Kuijken, Margriet Tindemans, Marion Verbruggen, and Aldo Abreu. He has taught for the VdGSA and Amherst Early Music, among many others, as well as serving on workshop faculties in England and Australia. Jack received the Binkley Award for Outstanding Achievement by a Collegium Director from Early Music America in 1999, and is Past President of the VdGSA.

Martha Bishop is Conclave Music Director; she performs with Atlanta Baroque Orchestra and New Trinity Baroque. Her didactic publications for gamba are used internationally, and her compositions are available through PRB Publications and Fountain Park Publications. She is a fellow in composition of Hambidge Center for the Arts.

Marie Dalby recently returned to the west coast after over a decade in New York and Connecticut where she regularly performed on the viola da gamba with numerous ensembles. She is a member of the New York Consort of Viols and the acclaimed Baroque ensemble Flying Forms. While finishing a master's degree in medieval church history at Yale University, she was on the faculty of the Neighborhood Music School in New Haven, CT, and also founded and directed the Yale Temperament Consort. She has taught at the Amherst Early Music Memorial Day Weekend workshop and has led ensemble workshops in Connecticut, New York, Massachusetts and California. She is currently the Vice President of the Viola da Gamba Society of America.

Julie Elhard, viola da gamba and Baroque 'cello, appears regularly as a soloist and chamber musician and has made several appearances with the St. Paul Chamber Orchestra, including performing Bach's St. Matthew Passion under the direction of Nicholas McGegan. She has been a guest artist with Apollo's Fire (Clevelend's Baroque orchestra) and performs regularly with The Lyra Baroque Orchestra. She was awarded a Jerome Foundation grant to study vielle and early string playing with Margriet Tindemans and received a Performing Artist Certificate from the Royal Conservatory of Music in The Hague, Netherlands. Elhard has taught at workshops in Minnesota, Wisconsin, and at the Viola da Gamba Society of America's national Conclaves. She currently teaches viola da gamba at Carleton College in Northfield, MN and at the St. Paul Conservatory of Music where she has created a Suzuki-style program for children to play the viola da gamba.

Grace Feldman is the Chair of the String Department at the Neighborhood Music School in New Haven, CT where she is Ensemble Coordinator, heads the Early Music Department and teaches gamba, recorder, violin and viola. She has performed with the New York Pro Musica Viol Consort, New York Trio Da Camera, the New England Consort of Viols and is a member of The Playford Consort. She is the author of The Golden Viol, Method for Bass Viola da Gamba, and has recently released two solo recordings on the treble viol: The Golden Viol and The Treble Sings.

Wendy Gillespie, a performer of medieval, Renaissance, Baroque and contemporary music, teaches early bowed strings, performance studies, and reading from early notation at the Early Music Institute of the Jacobs School of Music, Bloomington, IN. She has played with ensembles ranging from the English Concert to Ensemble Sequentia and has participated in more than 80 recordings for hmUSA, EMI, Virgin Classics, BIS, Channel Classics, Avie, and other labels.
As a member of the viol consorts Fretwork and Phantasm, Gillespie has toured the globe performing concerts and appearing on radio and television. She has shared two Gramophone awards, several Gramophone and Grammy nominations, many "Recordings of the Month",and a French Grand Prix du Disque with her colleagues.
Gillespie is much in demand for workshops and seminars in early music performance in the United States and Europe. She is a member of the Medieval Studies Institute at Indiana University and President of the Viola da Gamba Society of America.

During her 33-year love affair with the viol, Julie Jeffrey has developed a career on the instrument that has taken her all over the world, performing, recording and teaching. At home in the San Francisco Bay Area Ms. Jeffrey plays with Sex Chordae Consort of Viols, is the creative mastermind of the acclaimed trio Wildcat Viols, embodies half of the viol duo Hallifax & Jeffrey, and co-directs Barefoot Chamber Concerts. A devoted proponent of all things viol, Ms. Jeffrey is a co-founder and active member of the Viola da Gamba Society-Pacifica Chapter, and currently serves on the VdGSA's board of directors.

Yukimi Kambe, special guest, studied with Wieland Kuijken in The Hague after graduation from the Schola Cantorum Basiliensis studying with Hannelore Mueller. In Japan, she began her career with recitals, concerts, recordings and appearances on TV and radio. She is the founder of the Yukimi Kambe Viol Consort. Through her friendship with composers, excellent modern viol music has been created. She is a lecturer at Kunitachi College of Music, Tokyo, and Ferris University College of Music, Yokohama, and was President of the Viola da Gamba Society of Japan (1983-84).

Larry Lipkis is Professor of Music and Composer-in-Residence at Moravian College, where he directs the early music ensembles and teaches composition. Since 1986, he has been a member of the Baltimore Consort, an internationally acclaimed early music ensemble which in the spring of 2009 released its fourteenth CD, entitled Adio España.
Larry has composed over eighty works, and his bassoon concerto Pierrot, premiered by the Houston Symphony in 2002, marked the completion of a trilogy of concerti based on characters from the Commedia dell'Arte. Scaramouche for cello and orchestra was recorded by Carter Brey, and Harlequin for bass trombone and orchestra was premiered by Jeffrey Reynolds and the LA Philharmonic.
Larry is a Music Director for the Pennsylvania Shakespeare Festival and serves on the Board of the Bach Choir of Bethlehem. He is a former director of Early Music Week at Pinewoods, where he is a frequent faculty member. He lectures on such diverse topics as musical rhetoric and composition in the schools, and often leads workshops in both recorder and viola da gamba.

Lawrence Lipnik has performed with many chamber and early music ensembles including the Waverly Consort and Anonymous 4, and is a founding member of the vocal Ensemble Lionheart and the viol consort Parthenia. He is currently a member of the NY Consort of Viols, and is a frequent musical collaborator with artist William Wegman. In addition to performing, his busy teaching schedule spans national and international workshops from the Benslow Music Trust, UK, Port Townsend, and the San Diego Music Festival to Pinewoods and Amherst Early Music, and he is currently Viol instructor at Wesleyan University. He has recorded for numerous labels including EMI, Angel, Nimbus, Virgin, Sony, Koch International and Cantaloupe.

Sarah Mead, who lives and works in the Boston area, is the 2007 winner of Early Music America's Binkley Award for Outstanding Achievement by a Collegium Director. She is Associate Professor at Brandeis University, where she directs the Early Music Ensemble and is a frequent guest choral conductor. She is the author of the Renaissance Theory chapter in A Performer's Guide to the Renaissance, recently re-issued by Indiana University Press. She has taught at Tufts and Northeastern as well as at Trinity College of Music in London and is a regular guest lecturer at Longy School of Music in Cambridge. She serves on the Boards of the VdGSA and EMA, and is former Program Director for Early Music Week at Pinewoods Camp.

Rosamund Morley has performed on all the viols and their medieval ancestors with early music ensembles as diverse as Piffaro, Lionheart, ARTEK, The Boston Camerata, Sequentia, Les Arts Florissants and Aston Magna; she has toured worldwide with the Waverly Consort. As a member of Parthenia, she is responsible for developing creative programs incorporating both early and new music. Her teaching schedule includes workshops such as the Benslow Music Trust, UK, the Cammac Music Center in Quebec, Summerkeys in Maine and Amherst Early Music. She is the director of Viols West and teaches viol at Columbia University.

David Morris is a member of the Sex Chordae Consort of Viols, Musica Pacifica, The King's Noyse and the New York State Early Music Ensemble. He has performed with Philharmonia Baroque Orchestra, Tafelmusik, American Bach Soloists, the Boston Early Music Festival Orchestra and the Mark Morris Dance Company, and has recorded for Dorian, New World, New Albion, WGBH, St. Paul Sunday (with the King's Noyse) and New Line Cinema.

John Mark Rozendaal lives, works, and plays in New York City. He teaches the Viola da Gamba Dojo, a weekly class for viola da gamba players of all conditions, and performs with Trio Settecento and with the baroque ensemble Repast. In 2008 Centaur Records released Breaking the Ground, Rozendaal's recording of music from Christopher Simpson's The Division Viol and pieces from the Manchester Tablature.

Elin Soderstrom is a graduate of McGill University in Montreal and of the Royal Conservatory in The Hague. Elin has been a core member of the Montreal-based ensembles Masques and Constantinople, with which she has performed numerous concerts, toured and recorded. Additional experience playing with the Voix Humaines Consort and the Dutch viol consort The Spirit of Gambo has allowed her to develop her interest in the repertoire for viol consort. A dedicated teacher, Elin communicates her passion through private instruction as well as at various workshops. Currently, Elin is devoting more and more of her time to improvised music, a life-long interest that has become the subject of a doctorate which she is pursuing at the Université de Montréal, thanks to a generous grant from the Fonds québécois de recherche sur la société et la culture.

Craig Trompeter, gambist and cellist, performs and teaches throughout the United States. He appears in concert and over the airwaves with Musica Maris, the Second City Musick, the Newberry Consort, Music of the Baroque, Chicago Opera Theater, and the Smithsonian Chamber Music Society. He has recorded on the Harmonia Mundi, Cedille, and Centaur labels. He holds Bachelor and Master degrees in cello performance from the Cleveland Institute of Music and is a Guild Certified Feldenkrais ® Practitioner. He has presented Feldenkrais workshops for musicians and the general public at several universities and at nationwide workshops.

Brent Wissick is Professor of Viola da Gamba and Cello at the University of North Carolina at Chapel Hill. He is a member of Ensemble Chanterelle and the Atlanta Baroque Orchestra as well as a frequent guest with American Bach Soloists, BEMF, the Folger Consort, Concert Royal, Dallas Bach Society, and Collegio di Musica Sacra (in Poland). An active teacher/performer in the US and abroad, he is Past President of the VdGSA.

Faculty | Programs | Fees | Classes | Contacts


Special Programs


Winning compositions from the Ninth International Leo M. Traynor Composition Competition for new music for viols will be performed at this year's Conclave on Thursday evening. The goal of the competition is to stimulate development of a contemporary literature for our instrument and thus continue its tradition in modern society. Compositions must be accessible to experienced amateur viol players with the hope that the music will frequently be played. The Traynor composition competition is made possible in part through the generosity of the Viola da Gamba Society of Japan.


As a community outreach, this class is offered free to local residents and to guests of Conclave registrants. The class emphasizes technique, practice habits, and goals for the coming year. Instruments will be available free of charge. The class will meet Monday through Saturday. Contact Martha Bishop, email: Martha Bishop.


Register as a group for 1 class only. Priority to 6-member groups. Register early and all at about the same time.


This program is for professionals who are not on faculty, highly advanced amateurs, and semi-pros who want to work on specific projects or just read through consort repertoire. Participants in the SP Program pay only the Conclave conference fee and do not take classes (or take just one class at the one-class rate). Applicants for this program should be strong readers and sufficiently competent with the consort literature to be comfortable playing more than one instrument on the more difficult repertoire. For more information, contact Joan Boorstein, email: Joan Boorstein, phone (617) 332-7294.


The Consort Cooperative is an intensive, peer-directed program for pre-professional and professional viol players that runs concurrently with Conclave. CC participants hone their directing skills as they explore both traditional and unusual consort repertoire in peer-coached consorts. Participants in CC'09 will perform an afternoon mini-concert as well as winning compositions of the Traynor Competition alongside Conclave faculty. For details and applications see the March VdGSA News, or Consort Cooperative. Contact Loren Ludwig, email: Loren Ludwig.


Builders and dealers of instruments, bows, and related materials are invited to exhibit at Conclave. Secure display space will be available adjacent to the VdGSA Store and Boulder Early Music Shop. One table per exhibitor is guaranteed ($25 per day plus pro-rated conference fee for exhibitors not registered as tuition students). We will make every effort to provide as much display space as you require, but we can guarantee one table only. Exhibitors are strongly urged to register on-line. The on-line registration includes a special program for builders and exhibitors with the option of part-week stays and pro-rated fees. Exhibitors must complete all registration forms–including housing requests—by June 15. Contact Susan Marchant, email: Susan Marchant, phone: (662) 234-3266.


Conclave Work-Study positions come with full-tuition scholarships ($400) or part-time stipends ($200 for Consort Cooperative players only). Work-Study students handle the VdGSA Store, photocopying, registration, stage-managing and other similar duties. The application form for Work-Study Scholarships/ Stipends is available during the online registration process. If you wish to apply but do not have internet access, contact the scholarship coordinator as soon as possible (see below). Applications must be received by April 25. Most recipients should know by May 23 if they will receive a subsidy. These positions fill quickly, so be sure to apply promptly! Contact Sarah Tippett 604-512-9152, email: Sarah Tippett.

Faculty | Programs | Fees | Classes | Contacts


Workshop Fees

Room and board

Building Style Room Type Cost for the week Saturday arrival cost
(includes meals
starting with Saturday supper)
Apartment-style dorm Single $575 $75
Double $400 $55
Traditional dorm Single $450 $60
Double $300 $40
A few $125 subsidies for R & B are available for students and others on limited income. This option is available during the application process.


  • Full tuition (2 or more classes) $400
  • Partial tuition (one class only) $300
  • Non-participants (guests, non-playing partners, Seasoned Players and Consort Cooperative members not taking classes) $200
  • area participants in the Beginning Viol Class — No charge
  • Full refund for cancellation before June 15.
  • non-members must join the VdGSA and will be charged an additional $20 for their 1st-year membership.

Faculty | Programs | Fees | Classes | Contacts



Early Class
Level Teacher Class Focus
Any level Trompeter Feldenkrais® class

First Period
Level Teacher Class Focus
Any level Lipkis An introduction to composition and text-setting through the writing of rounds. Each student will bring a text of his or her choice, and we will compose rounds together in a friendly and collaborative seminar-like setting.
LI, MI Wissick Brent’s bowing. A must if you haven’t had it! (Even if you have. . . ). Limit 12.
LI, MI Dalby Easy bawdy songs and dirty ditties for viols. Doubling.
MI Elhard The Seven Teares by John Dowland. Limit 5 tr, tn, tn, tn, b.
MI, UI Feldman Unsung songs and undanced dances from 1400 to 2000. Limit 15.
UI Gillespie Byrd and buddies. This class will also learn one of the Traynor winning pieces for possible performance. Limit 5: tr, tn, tn, b, b.
UI Soderstrom It’s all about Susanne: different settings of the ever-so-famous sixteenth-century French chanson, Susanne un Jour, by Lassus, Rore, Certon and many others. Limit 6, some doubling.
UI Trompeter Pour les violes. French seventeenth-century ensemble music by Du Caurroy, Le Jeune, Mouliné and Charpentier in an orchestral setting. Limit 10.
UI,A Rozendaal, Ashworth, Jeffrey From the sublime to the ridiculous. What was “new” then—on the edge consorts. Limit 6.
UI, A Morley, Lipnik Contemporary music from the Parthenia perspective. In depth looks at Ayton, Bishop, Patterson and others as time permits. Limit 4.
A Morris, Kambe Bach on viols. Limit 4, possibly in 3 configurations so as to allow for rotating teachers.

Second Period
Level Teacher Class Focus
B Trompeter Beginning viol for anyone interested! Instruments provided free of charge, with advance notice and if available.
LI Bishop Name Right Your Notes. Explore old and new music with easy notes. Doubling.
LI, MI Soderstrom How to sight-read better. Learn the tricks: basic theory, clefs, key signatures, solfege, rhythmic patterns. Sight-reading from easy consort literature. Doubling.
MI, UI Gillespie The geography of the viol. Learn your way around the instrument making it easier to play fast, read clefs, transpose, and improvise! All sizes, limit 10.
MI, UI Morris Palestrina and Gesualdo; the princes of polyphony, representing both ends of the scale! Limit 10.
MI, UI Feldman A German feast including some delicious Bach. Whet your appetite for lunch! Limit 15.
UI Rozendaal, Ashworth, Lipnik Gibbons fantasias. Limit 6.
UI Elhard, Jeffrey, Kambe Coaching the consort from within. Limit 6.
UI Morley Swap around consort for instrument doublers: admiring Jenkins from all angles. Limit 6.
UI, A Lipkis Outer limits: medieval meets modern. Each day a medieval piece will be paired with a modern piece. Limit 8.
UI, A Mead Divide and conquer! Complex rhythms—clean up your dots! Gain rhythmic precision while playing a musical line. Limit 6.
A Wissick Performing consort. This class will learn, among other music, a winning Traynor entry to be performed on Thursday night. Limit 5: tr, tr, tn, b, b.

Third Period
Level Teacher Class Focus
LI, MI Morley The earliest viol music. Doubling.
LI, MI, UI Soderstrom Improvising over “hit” grounds/tenors of the Renaissance at a non-threatening level. All size viols welcome. Discussion of modes, voice leading, what works and what doesn’t. Limit 10.
MI, UI Mead Signs of the times: understanding consort music from a historical perspective. How the aesthetics of different periods were reflected in their ensemble writing. Limit 5.
UI Rozendaal Technique through Ortiz and/or Simpson. Limit 10.
UI Dalby Requiems on viols; an exploration of music for the dead. Gorgeous music by Lobo, Cardoso, Ockeghem, and maybe even Fauré? Doubling.
UI Wissick German hymn tunes—settings by Praetorius, Scheidt and others. Limit 8, with some polychoral music.
UI Morris Knowing your consort eras. Which consort composer belongs to which era? Lots of reading. Limit 6, good readers only.
UI, A Feldman Old wine in new bottles; old tunes and their contemporary settings. Limit 15.
UI, A Lipkis, Ashworth Consort playing; English pavans/galliards with emphasis on improvised repeats. Limit 6.
UI, A Lipnik, Kambe Elizabethan and Jacobean favorites. Limit 6.
A Elhard Lully’s “Bourgeois Gentilhomme” arranged for viol consort, and French dance music of the Baroque. Limit 5, with teacher sometimes playing a part.

Fourth Period
Level Teacher Class Focus
Any level Trompeter Feldenkrais® class. The Feldenkrais® Method uses movement and directed attention to improve awareness, comfort, coordination, balance, posture, breathing, and more.
Any level Ayton Round Robin for New Compositions—one day
Any level Bishop Jenkins Orchestra—one day
Any level Rozendaal Byrd Mass Sing and Play—two days
Any level Jeffrey Ad hoc consorts

Faculty | Programs | Fees | Classes | Contacts


Points of Contact

Responsibility Name Phone Email
Music Director Martha Bishop 404-325-4735 Martha Bishop
Scholarships Sarah Tippett 604-512-9152 Sarah Tippett
Housing questions Kathy Schenley 919-918-4159 Kathy Schenley
Money matters, forms Ken Perlow
131 S. Humphrey,
Oak Park, IL 60302
708-989-1729 Ken Perlow
Exhibits Susan Marchant 662-234-3266 Susan Marchant
Local host Ken Perlow 708-989-1729 Ken Perlow
VdGSA President Wendy Gillespie 812-336-1810 Wendy Gillespie
Campus information
Local information Choose Chicago
Web registration issues Linda and Peter Payzant   Web Masters