Australian Youth Orchestra
AYO National Music Camp 2025 Day One by Elena Wittkuhn
Media and Communications Blog
Milly and I began our night of rehearsal spy-ins at the first read through of the Walsh Chamber Orchestra. These keen, undeniably skilful young players are this year under the guidance of maestro Andrew Haveron, who is here on summer holidays from his role as Concertmaster of the Sydney Symphony Orchestra. Haveron empowers everyone to play without fear, insisting that “Today is not about accuracy, it’s about flavour!” And boy was there FLAVOUR.
We first have the gift of hearing Samuel Barber’s Adagio for Strings. Though it admittedly might have “too many flats!!!” (Haveron, 2025), I think this has to be one of the profound works ever written for string orchestra. After the play-through, I am moved even further as Haveron emphasises the sheer honour of performing this work; this is “the music [that] helps people to understand sorrow. To play it is such a privilege, it gets me through.”
It was such a delight to hear Jessica Well’s vivacious Dancing In St. Petersburg for the first time. The work pastiches some famous dance music by Russian composers– among others, she quotes Borodin, a Shostakovich Charleston parody, and personally I could have sworn I also picked up on a Prokofiev vibe in there too (was that just me?!) My first impression is how well the orchestra nail a lush sound, and I’m reminded of the soaring, rich textures of Herbert Howells. A special shout-out goes to viola principal Darius Goh, who played a particularly haunting viola solo with exquisite flair.
Another treat was Peter Sculthorpe’s Third Sonata for Strings – ‘Jabiru Dreaming’ . You know it’s going to be interesting when the director declares “this is not meant to sound too much like classical music!”. Haveron encourages the orchestra to fully embrace all of the work’s nature sounds, saying each extended technique is “not just some effect, it’s important, it’s the pulse of this music”. In aid of the freedom that the music demands, Andrew implores the players: “I want you to forget whether you are doing an up or down bow; it’s just a method of making sound!”
Ultimately, it was this sense of freedom that fuelled the orchestra’s camaraderie, which we know is so essential for successful chamber playing. Between pieces, each player within each section had the chance to introduce themselves, and the theme for “fun fact” quickly became pet-based. We’re a quirky, music-loving bunch at NMC, but apparently, nothing bonds us closer together than sharing the names of our dogs. In all seriousness, I am sure that this closeness will illuminate the Walsh Orchestra’s talents all the more, in concert.
About National Music Camp
Founded in 1948, National Music Camp has become the cornerstone of our training. Over two intensive weeks, around 220 of the country’s most talented young musicians come together to be mentored by world-class tutors, artists, and conductors. They experience music-making at the highest national level as part of exceptional symphony or chamber orchestras.
Behind the scenes, aspiring arts leaders from the Media and Communication, Orchestral Management, and Sound Production programs collaborate to bring today’s concert to life. Whether crafting compelling narratives about music’s cultural impact, mastering stage management logistics, or capturing the magic of live performance in pristine audio, these participants are guided by industry experts, challenged, and inspired at every step.
Together with the Composition program, which fosters the creation of bold new works, this comprehensive approach to orchestral and arts administration training cultivates a dynamic environment where creativity and passion unite, lifelong friendships and collaborations are sparked, and Australia’s arts scene is reinvigorated. As the lifeblood of culture, the arts enrich our lives, connect us, challenge us, and transform us.