Gordon Cumming (pianist, joined 1965) writes
The Club stands apart from all others in the world of British music-making and its very survival through the turbulent years of the twentieth century is proof of something special.This is partly due to its unique position in providing a regular opportunity for performance to amateur chamber musicians, partly to the quite strong traditions of the Club. To me personally it has been a superb platform for lieder recitals, works for piano and strings, and a little solo work. When I first joined I did not have my own piano and it was wonderful to be able to play a good instrument
Alan Reddish (conductor and pianist, joined 1988) writes
My membership of the Club has furnished unparalleled opportunities to engage in music-making of all kinds with dedicated amateurs - and some professional musicians too. It has provided me with a new partner, in all senses, for violin and piano recitals, and a leader for the quirky orchestra/operatic ventures which I have always cherished - like Stravinskys The Soldiers Tale and Waltons The Bear, the first British performance of Schuberts Des Teufels Lustschloss, and Vaughan Williams lively The Poisoned Kiss - all long-nursed ambitions. An army of friends in all departments - vocal, orchestral and administrative - have made this and much more possible, alongside many imaginative performances by others in which I have enjoyed being a listener
Jo Parton (soprano, joined 1992) writes
Since I joined the Club I have always been struck by the depth of musical knowledge, anecdotes relating to the Great and Good of musical times past and present, and tremendous enthusiasm displayed by the members. Not to mention the occasional eccentricity which provides added colour and value. In recitals, chamber choir concerts and operas I have appreciated, as a singer, being among musicians of the highest quality, as well as gaining experience of unfamiliar and little-known works. The Club has given me music, friendship and fun. I only wish I had joined earlier.
Evelyn Chadwick (violinist, joined 1993) writes
My first contact with the OCMC was in the 70s when I was trying to become a professional violinist in London. My pianist friend John Bateman, who was helping me to prepare works for performance, would insist I try them out at his Club. His help and the kindness of other members were invaluable to me at that critical stage of my career.
I appreciate the receptive audience, glamorous venue, good pianos and many interesting events. Above all it is a good place to meet other players. One gets a good deal from OCMC - sometimes rather more than one deserves.
Leonard Whitehouse (bassoonist, joined 1951) writes
Membership of the Club offers the certainty of meeting congenial fellow-enthusiasts. For wind-players like myself it also provides the opportunity and incentive to organise our best (or at least rarest) chamber works which tend to need awkward numbers of players, like 8 or 13. Add the occasional orchestral session and the annual Opera. How could one resist ?
Michael Scott (bass, joined 1993) writes
I joined OCMC not so much to perform as to listen. Some years ago two successive concerts were programmed to include all the chamber music of Elgar and Walton. That convinced me I should be a member. The originality and variety of the programme planning remains as interesting as ever.
|Back to Top | Home||
Page last updated: 09 July 2003