Come and Play with ASO Donor Bob Clampett

When did you first start learning music, and what led you to take up the viola? 

I came to music later in life. I’d been to an orchestral concert and saw an advertisement for adults to learn an instrument. The next day at a family barbecue, we talked about it. There were suggestions I take up the cello, but I couldn’t imagine lugging it around, so I started with the violin instead. 

Not long after, I met a woman who suggested I join the Mosman Symphony Orchestra, a local community orchestra. They invited me along and said if I enjoyed it, I was welcome to stay – and that was 25 years ago. I switched to viola about seven years ago. The ergonomics suited me better, and I’ve never regretted it. 

What does being part of a community orchestra mean to you?  

I really look forward to rehearsals – it’s a challenge, and I should probably practise more! I joined the orchestra within eight months of starting lessons, which was quite a leap. Early on, a second violinist took me under her wing and taught me a lot. I’d never even seen an orchestral score before, having only sung in choirs. 

Over the years, I’ve been very involved. I was the orchestra’s librarian for 16 years – we started with half a dozen boxes of music, and by the time I handed it over, it filled a whole room. We now have over 300 works in the library. I’m also on the committee. It’s a great group of people, with support from the local council and sponsors. We perform four programs a year and have played at Sydney Town Hall and the Opera House. 

What did it feel like to sit alongside ASO musicians as a participant in Come and Play? 

It was gobsmacking – really quite overwhelming, in the best possible way. The whole experience was marvellous. The conductor Ben Northey was incredibly kind and encouraging – it was a very supportive environment and honestly quite enlightening. It’s definitely increased my desire to practise. 

Did you learn anything about the orchestra? 

Absolutely – rehearsals are learning experiences in themselves. I’d actually played the Sibelius before with the Mosman Symphony, but this was a completely different experience. Ben made a point about how, although the music is written with bar lines, the opening phrases should really flow across them. That changed how I thought about the piece. The bowings were quite different from how we’d played it in my orchestra, and that created a different result.

It was interesting to re-learn the piece in that way. Sitting next to Linda Garrett (ASO Tutti Viola) was incredibly helpful – I could listen and follow her lead for timing and entries. I’m not the best at counting, so I’m grateful for that guidance! 

What would you say to someone considering taking part in Come and Play? 

Go for it! People at my level of playing rarely have this kind of opportunity. The players make you feel included. It’s such a great way to bring people together – professionals and amateurs – and inspires you to play beyond what you thought you were capable of.