Oxford and Cambridge Musical Club
|
|
Oxford and Cambridge Musical Club |
|
Before the business of the meeting, the Chairman welcomed everybody and commented on his first year in office, saying that it had been characterised by high quality music and a large number of concerts. He was really pleased to chair this most extraordinary organisation, which is a credit both to the performers and concert organisers. He also thanked the Committee members and other Club members who perform valuable services, and give their time and energy to keep everything going. He singled out in particular Adrian Rushton, who after several years of booking the rooms for rehearsals and concerts has decided to step down; Graham Bowler, our new Music Secretary, whose planning is so efficient that we not only have next season’s concerts planned, but an outline of the following year’s; and Lyn Parkyns, who has helped with her experience of many years as the Chairman before him, and who is now Secretary.
In this year, the 110th year of the Club’s existence, the AGM coincides with the 2000th concert.
Sheila Shuttleworth, Chris Crocker, Genevieve Usher
The minutes of the previous Annual General Meeting (on 23rd February 2008) were read and adopted
Club library
Nick Reading asked whether the catalogue of the library held by Robert & Deborah Behrman is available yet on the internet site, as it had been sold to them & Gordon Cumming for £100 on the understanding that within 2 years members would be able to borrow items. He had brought this subject up at the AGM nearly every year and hoped that there was some good news about gaining access to the site. The Chairman asked Andrew Westlake, who, although he had now put the (very large) catalogue on to the Club site, had not so far organised a direct link for borrowers. The Committee needs to discuss how to make it available to members of the Club only. Nick gave a possible formula for doing it, but asked whether we can be sure of contacting the curators if we want something. Gordon Cumming said that this is not yet quite resolved. Andrew Westlake said that, although the catalogue is available, the sticking-point is preventing public access. Nick Reading suggested that the library be sold off to make money. Gordon Cumming remarked that all the useful and valuable music, amounting to 95%, is already in the hands of members. What is now held is only the remaining 5% (4,000 items), which needs to remain intact. Nobody has a record of the value of the music sold. Nick maintained that he had been to look it up at Senate House and that only duplicates were sold off. Lyn Parkyns suggested that all that is necessary is simply for Club members to be sent (in the usual mailing) details of how to gain access to the site, which seems to be only a matter of entering a specific formula. In this way public access would be denied. It was confirmed that this was possible and can go ahead. Jo Parton asked if we could have an assurance from Deborah Behrman that valuable copies would not be sent through the post. Deborah confirmed that in those cases photo-copies would be sent.Richard Shaw voiced his appreciation of the work done by the Behrmans, Gordon Cumming and Andrew Westlake. The library is now in the last stages of being made accessible and should now be made a priority. The Chairman said that it will be made so at the next Committee meeting. David Edwards asked why such a fuss was being made about not very valuable stuff.
Carl Murray reported that we currently have 255 members, of whom 51 are under 26. Since the last AGM we have acquired 15 new members, 14 have resigned and 4 have died. He said that he gets many email enquiries to which he responds by sending details, membership forms etc., but very rarely hears any further. The New Members’ concert which he organised last November was made up mostly of piano and instrumental items. It was a very pleasurable occasion and we welcomed some excellent new talent to the Club.
Richard Shaw asked if the young members are all part of the link with Pro Corda. Carl replied not all, but that we do have 38 Pro Corda members who were signed up in the first year of this arrangement, and who do not take much part in the Club’s events. We now have individual applicants from Pro Corda rather than the en masse application we had originally.
Sue Estermann said that has been traditional to name the new members. Mike Crowe replied that they will appear in the Minutes of the AGM:
New members: Sophie Behrman, piano: Stephen Bonney: David Johnson, guitar, tenor: Andrew Horton, cello: Patrick Howard, tenor: Patrick Mammerle, piano: Penelope Manser, soprano: Danae Pallikaropoulos, soprano: Simone Piga, piano: Edith Porterie, violin: Anupam Roy, violin: Barry Solomon, oboe: Adrian Wheeler, horn: Dr. Aaron Wong, violin: Peter Woodford, piano
Resignations: Joan Cohen, John Deacon, David Fleming, Aless Glover, Alexandre Hillairet, Marian Howard, Simon Jackson, Xavier Luscan, Pamela Markle, Tony Noakes, Pat Stewart, Pamela Tomlinson, Pat Wheeler, Diana Whitehead
Deaths: Prof. Nicholas Coldstream (Hon. Member), Pamela Simpson, Graham Thorne, Leonard Whitehouse
Graham Bowler, in his first report in this post, thanked Nick Murray, the previous Music Secretary, for handing on his knowledge and several ready-planned concerts. He said that he has been bowled over by the enthusiasm of the Music Committee – a great team. He highlighted a few large-scale concerts – the Neville Marriner workshop (Dvořak Symphony No 8) with a combined orchestra of our Club and Pro Corda; Falstaff, his first O&C opera which ‘knocked him out’ in which 43 members took part; the Club’s first Baroque opera using Baroque instruments – Purcell’s ‘The Fairy Queen’ – 29 members; and the Concerto workshop, also 29 members with great performances from all the soloists. He also mentioned some of the smaller concerts e.g. the Composers’ concert (14 members), Memorial for Graham Thorne and Leonard Whitehouse, ‘Nothing too Serious’ (23), Pianists (23), Open (9), Wind (12). Hugh Rosenbaum had organised 2 wind concerts, Alan Reddish had organised a Messiaen centenary concert, and Rupert Bawden had organised a concert including the Berio folksongs in the form of an open rehearsal. He mentioned numbers merely as a matter of interest, not as a contributory factor to the excellence of the concerts .
He had several questions
- How do you measure the success of the Music Committee?
- Does everybody who wants to perform do so?
- Do listeners get a good balance of music?
He gave some figures which resulted from looking back over 4.5 seasons and analysing them – we have performed 700+ different works, an average of 150 per year. These break down into 15% Baroque, 15% classical, 30% Romantic and the rest 20th Century. In the last year 50% of the members have performed, on average twice.
He looked forward to the remaining concerts of this season, which will include a Haydnfest instead of the Neville Marriner workshop in July (Sir Neville has said that he is willing to do one in 2010). We have firm plans up to December 2009 including a Handel Oratorio instead of the opera this year. He is looking for organisers now for next year.
Two messages to organisers concerning new rules:
1) We now have to put the UCL rooms back as we find them.
2) The Haldane Room will in future not be available after Easter, so we will use Hinde Street Chapel. This will entail starting the concerts earlier – at 7.30 - as it closes at 9.30.Many thanks to Pip Kings, Sue Estermann & Andrew Westlake for making sure that the members know about all the events. Also to Adrian Rushton for booking the rooms.
A message to members – don’t wait to be asked to play, volunteer; and to the non-members present – Join! This is a vibrant Club! He finished by saying ‘Well done’ to the Music Committee.
Jo Parton thanked the members of the Committee. She remarked that this year’s opera, ‘Falstaff’, was the first since a specific committee was formed. It was excellently sung and the orchestra magnificent. It is not always possible to provide opportunities for everybody, but the choice of an Oratorio this year should not only save money but provide more solo opportunities for singers. Handel’s ‘Samson’ and ‘Saul’ are short-listed. She was impressed by the choir here today. She thanked Evelyn Bercott for her hard work in organising our first Opera Workshop, to take place on March 14th. This is a new and difficult job and a big undertaking, providing opportunities for many singers to take part in a wide variety of music. There will be single acts from 4 operas.
Libby Summers presented the accounts (text attached). (It will also appear on the web-site with the Minutes) Our total income was similar to last year’s - £6044.
The last year has been more expensive, the main increase in cost being in music-hire and venues. Some important points – when UCL fails to invoice us (as it frequently does despite reminders) the system of accounting which we have been following for many years falls down, as our true expenditure is not shown. She therefore proposed a change to an accrual system. A rise in subscriptions was considered by the committee to be wrong at this point, so the alternative is a pared-down programme. 20 concerts (we had crept up to 22) and this year an Oratorio instead of an Opera.
To help with planning the budget, it has been proposed that we move the financial year to the academic year, in line with the concerts. The result will be an extra 8 months in this financial year and a delay in the AGM until the start of the year beginning 1st September 2010. The subscriptions will remain due on 1st Jan. Libby thanked all those who pay by Standing Order which helps her considerably, and reminded those who had not paid this year that subs. were due on 1st Jan.2009.
Sue Estermann asked that anybody with an email address who is still receiving paper copies please let her know as the reduction of paperwork saves money and effort.
The acceptance of the accounts was proposed by Jo Parton, seconded by Gordon Cumming.
To propose that the financial year be harmonised with the concert year, and run from 1st September to 31st August (This will necessitate a change in the date of the AGM to November, beginning in 2010, and mean a financial year of 20 months for 2009 – 2010.
Evelyn Bercott asked why subs. should not be raised. The Chairman replied that such an action would be a mixed blessing as some people might resign, thus lowering our income. Also a rise of £5.00 would not be sufficient to cover our deficit. It is considered better to keep the same rate but economise and be more efficient. Various other questions were asked and answered satisfactorily.
The above proposal was proposed by Sue Estermann, seconded by Peter Sowerby and accepted unanimously.
To propose that a new set of rules be adopted for the making and playing of recordings of OCMC concerts.
The Chairman read out the proposal:
The Committee’s Draft Code of Practice for Making and using Recordings:
‘
Members are welcome to record items performed at a
concert. Audio-recordings and video-recordings should only be made with the
prior verbal agreement of all those performing. Recordings may then be kept for
private listening or viewing without further consent.
If the person in possession of the recording then wishes to play it to a wider
audience, for example on an internet site, those participating, whether players,
singers, page-turners or any identifiable audience members, should give separate
written consent for this. Such consent may be given alternatively by email, with
a hard copy kept of the email for future reference.
It is the responsibility of the person in possession of the recording to ensure
that no-one, whether performer or audience member, would be embarrassed by the
recording being shown or listened to.
Some concerts have recently appeared on You-tube, thus prompting this debate.
David Banbury asked whether there could be problems with copyright. Rupert Bawden advised caution as this is uncharted territory in copyright terms. We may need to clear it with music-hire firms.
Andrew Westlake proposed an amendment – that any member who wants to put a recording on You-tube needs to take responsibility for and indemnify any costs incurred. Nick Reading asked why it matters – people put holiday snaps on You-tube without having to ask everybody on the beach. The Chairman replied that the issue had arisen from an embarrassing moment in one of our concerts which appeared in the public domain. He thought that the code of practice could be beneficial to the Club. There were many questions and much discussion. Sue Estermann remarked that the crux is in the last paragraph – the need to ask permission.
Mike Crowe proposed that we vote in principle on a code of practice and that the committee will re-word it. In the interim recording can continue. Rupert Bawden seconded this proposal, which was accepted without a vote.
Nick Reading asked who will make the final wording and whether we have to wait till the next AGM. The Chairman replied that the new wording will appear on the website as soon as the Committee has revised it.
Tony Summers asked permission to audio-record his own new composition written for this occasion and being played today. This was of course granted.
The chairman remarked that although we have a Committee of 12 people, we are able to co-opt more. He asked for volunteers but none was forthcoming. Gordon Cumming proposed that the existing Committee be elected en bloc. This was seconded by David Edwards.
The members are: Deborah Behrman, Graham Bowler, Mike Crowe, Keith Daley, Sue Estermann, Pip Kings, Carl Murray, Lyn Parkyns, Jo Parton, Alan Reddish, Hugh Rosenbaum and Libby Summers
There are other jobs that need to be done, not necessarily by Committee Members, e.g. Webmaster, Room-bookings, mailing etc. The Chairman thanked Sue Estermann and Pip Kings for their hard work in sending out the regular mailings, and asked for offers of help.
Gordon Cumming congratulated the Committee on bringing about a superb 2000th concert event. Having recently looked in the Club’s records in the Bodleian Library, he was happy to note that the Club remains in good shape. In 1913 there were some 300 members who paid who paid 3 guineas per year, or 1 guinea or a half-guinea, according to status (Country member etc.) Also, the range of works performed in the period 1913-1930 was contemporary and vibrant, showing a keen appetite for fresh composers, and that remains the ethos today.
The Chairman drew everybody’s attention to the board at the back of the church displaying various key events since 1899 when the Club was founded. This information will appear on the website.
The meeting closed at 6.45pm and was followed by the 2000th Concert.
| Back to Top | Home |
Page last updated: 13 July 2009 |