The Sun had also covered Rosy’s marriage in January 1937 in “Spotlight on Society” reporting, "Rehearsal with the A.B.C. Orchestra until 5 p.m.,wedding at six; dinner in town, and the Russian Ballet after — that is the programme for Miss Rosalind Gumpertz, well-known musician, to-morrow… As Miss Gumpertz intends to continue her musical career, and could not get holidays until March, she decided on a quiet wedding." The marriage wasn’t to last, however, ending in divorce in 1940. In December that year, Rosy was the viola soloist in the Sydney Symphony’s first performance of Mozart’s Sinfonia Concertante with George White as violinist and conductor Percy Code.
The war years for Rosy and the Sydney Symphony included concerts in army camps and a wildly popular Beethoven Festival directed by Bernard Heinze. Defending the orchestra against a critic’s claims that standards had dropped owing to the loss of some of its musicians to war service, Rosy wrote to the ABC Weekly in December 1943 (identifying herself as a member of the orchestra) in vociferous support of her colleagues.
In the post-war years, as the Sydney Symphony continued to flourish with the arrival of Eugene Goossens, Rosy's career took her elsewhere. She spent a period of time in the early 1950s living in Hobart and working for the Tasmanian Symphony Orchestra; this was, of course, the second time she had been a foundation member of an Australian orchestra. Rosy had a brief trip back to London in 1956, then returned and settled again in Sydney, appearing in an early production of The Beggar’s Opera with the Elizabethan Theatre Trust in 1957.
After 1957 I can find no other professional references to Rosalind Gumpertz. She lived first in Kirribilli and later in Rose Bay, always giving her profession on the electoral roll as ‘Musician’. Rosy died in Chatswood in 1979.
As an early woman musician in the Sydney Symphony, Rosy left more than a few legacies. One is a work she commissioned from Dulcie Holland in 1932 when the two were still students at the Conservatorium. It is a Sonatina for Viola and Piano, dedicated ‘à R.M.G.’ It is more than likely that it was first performed by Rosy on my instrument, and I have been enjoying preparing it for a second performance.
Over the course of her lifetime Rosy owned four Smith violas; mine, from 1930, then three subsequent ones made in 1932, 1938 and 1948. I don’t know where her other instruments have ended up, but I feel sure that their owners today are enjoying Rosy’s legacy as much as I do mine.