25 May 2026
Cellist Maggie Wang on growth, community and life at AYO
For 17-year-old cellist Maggie Wang from Victoria, the Australian Youth Orchestra (AYO) has become far more than a series of programs – it’s a musical home. Since joining AYO Symphonists in 2022, Maggie has immersed herself in the organisation’s opportunities, attending two Symphonists programs, four National Music Camps (NMC), and performing with the flagship orchestra for three years, including the 2025 International Tour. In 2025 she stepped into a leadership role as principal cello in the Bishop Orchestra at National Music Camp. Here Maggie shares her memories of AYO – from her first day at camp – and her tips on how to approach an AYO audition.
“I remember what my first day was like, because it was so memorable,” she says. Her introduction to AYO came through the 2022 Young Symphonists program in Ballarat, Victoria – close to home, but emotionally a leap into the unknown. “I had so much nervous energy in me, but I was also really excited to meet everyone, because I didn’t know a single person.”
What followed was a defining experience. “After the program, I ended up making so many lifelong friends that to this day, I’m still in contact with them,” she reflects. That sense of connection is something she now recognises as central to the AYO experience.
Life at National Music Camp
The rhythm of a first day at National Music Camp still carries that same mix of anticipation and excitement. Musicians arrive from across the country – by plane, by bus – before gathering for briefings and the first rehearsal. “Everyone’s involved,” Maggie says, noting that these early sessions set the tone, outlining expectations while bringing the entire cohort together. But for her, the highlight comes in the evening. “The first rehearsal is very exciting, as all the practice at home finally comes together.” It’s also where friendships, both old and new, begin to take shape.
“It’s just such a great opportunity to meet all those friends… but also to meet new musicians and make new friends from all over the country. It’s just so special.”
Having now participated in multiple camps, Maggie has experienced the full spectrum of ensembles at NMC – and she is quick to point out how distinct each one feels. “All of the different orchestras in National Music Camp offer different experiences,” she explains. The chamber orchestra, for instance, presents a more intimate setting. “It’s a smaller group… only strings, so there’s no brass, no percussion, no woodwinds… it offers a more intensive and more intimate experience.”
By contrast, the Bishop and Alexander symphony orchestras deliver something entirely different. “It’s a bigger, more immersive experience,” she says, highlighting the “richer textures” that come from a full complement of instruments. For Maggie, having the opportunity to move between these ensembles across her four years at NMC has been invaluable, shaping both her musicianship and her understanding of orchestral playing.
Equally influential have been the people she has worked with. AYO’s national reach brings together tutors from leading orchestras and conservatoriums across Australia, and Maggie has embraced every opportunity to learn from them. “I’ve worked with so many different tutors now… from orchestras and conservatoriums all over the country, such as MSO, TSO, QSO, WASO,” she says. One particularly meaningful moment came when her own teacher joined the program as a tutor. “That’s very special,” she adds.
Maggie’s audition insights
Alongside these experiences, Maggie has also developed a clear perspective on what it takes to succeed in an AYO audition – insights she is eager to share with aspiring applicants.
One common misconception, she notes, is the perceived hierarchy between audition components – the excerpts and the own-choice piece. “It could be a common misconception that your own work is more important,” she says. In reality, she believes balance is key. “For an orchestral audition, I think the excerpts are very important… for the adjudicator to judge your ability to play the excerpts in context with the whole piece.” Her conclusion is simple: “Both are equally important, and the own choice is certainly not more important than the excerpts.”
Preparation, she emphasises, is just as critical as repertoire choice. One of her most practical pieces of advice is to simulate the audition process in advance. “Before the actual recording, do practice recordings of your excerpts and your own piece,” she suggests. Listening back with a critical ear – “kind of being your own teacher” – can make a significant difference. By identifying what works and what needs improvement ahead of time, “that really saves you from a lot of stress when you’re doing your actual recording.”
Beyond technical polish, Maggie encourages musicians to think deeply about the music itself. Understanding context, she believes, is essential. “I would encourage listening to the whole work… and listening to what’s around it, listening to your role in the excerpt,” she says. Whether the cello line is leading, supporting, or blending into the texture, these choices shape interpretation. “Understanding your role… would really shape some of the music choices that you make.”
For Maggie, AYO has been a journey of both musical and personal development. Her story reflects what many young musicians discover through AYO: that beyond the rehearsals and performances, it is the shared experience – of learning, connecting and growing together – that leaves the deepest impression.