‘Music on steroids’: Why applying to AYO could change your life
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Ami Humphreys and Hanae Wilding share their AYO journey insights
Ami Humphreys still remembers the nerves of stepping off the coach at their first Australian Youth Orchestra program. “I thought, what am I doing here?” says the 21-year-old flautist from NSW who is in their final year at Sydney Conservatorium of Music. “I knew there were people who had been before, and I felt like a latecomer.” But that feeling quickly faded. “The AYO staff greeted me with big smiles and a ‘Hi, how are you?’ and I thought, okay, it’s going to be fine.”
Ami’s journey began with AYO National Music Camp, a two-week immersive experience they describe as “music on steroids.” Ami was struck by the sheer volume of music and the calibre of the musicians around them. “We’re just a bunch of kids,” says Ami, “but we’re all really good at what we do. Everyone is so inspirational to be around.”
At NMC the days were filled with rehearsals, conversations, and performances. “It was so much fun to just do music non-stop all day, every day,” Ami says. “You meet people from all around Australia who love music just as much as you do.”
Ami’s musical highlights included performing Strauss’s Ein Heldenleben and John Adams’s Chairman Dances, which they now count among their favourite orchestral works. “That was my first time playing it, and it was really cool,” said Ami. “We also played a violin concerto by Elena Kats-Chernin, which I’d never heard before. I loved that it was by a living Australian composer.”
Ami Humphreys in flute tutorial with Cassandra Slater (Prinicpal flute Mecklenburgisches Staatstheatre) on the AYO International Tour 2025.
Ami’s experience extended beyond national borders and they are now on the AYO International Tour in Austria and Germany. “We’re playing Tchaikovsky’s Fourth Symphony and Rimsky-Korsakov’s Scheherazade. It’s going to be insane.”
Ami’s advice to future applicants is simple: just apply. “Even the year I didn’t get in, I learned so much. You learn how to make audition recordings, how to be organised, how to set up a camera and find a good microphone. That’s before you even get to the playing.”
Ami also stressed the importance of excerpts in auditions. “They might be just two lines from a random symphony, but you have to think—why did they choose this? What are they looking for? And remember – rhythm is so important. You can have beautiful vibrato and tone, but if you miss a beat, it really sticks out.”
Non-orchestral opportunities
Australian Youth Orchestra also offers non-orchestral programs including Sound Production.
For 25-year-old Hanae Wilding from Western Australia, her AYO experience took a different path – through the Sound Production course at National Music Camp. A violist and composer, Hanae found herself immersed in cables, microphones, and audio gear. “We were running up and down stairs, setting up for recordings, moving equipment,” she says. “Physically, we were so fit by the end of two weeks.”
Despite the demanding schedule, Hanae brought her viola to camp and squeezed in practice when she could. “I had a concert the following week, so I needed to keep up. But you don’t get much free time. You want to rest and recover so you’re ready for the next day.”
Hanae’s experience in sound production opened unexpected doors. “I didn’t realise how much I would enjoy it,” she says. “After camp, I started emailing companies to shadow their sound engineers. I’ve already got extra work lined up in Sydney.”
Hanae’s advice to future participants is to be open to every opportunity and also explore AYO’s non-orchestral programs. “Apply for everything,” she said. “You never know what’s going to change your life. I’m primarily a viola player, but now I know how to record my own music. Everything ties together so beautifully.”
Both Ami and Hanae spoke about the intensity of the programs and the importance of time management. “Being a musician means being organised,” Ami says. “AYO taught me how to time-budget. You can’t learn everything, so you have to prioritise.”
Hanae agreed. “Make a list of what’s most important and go down it. Practice the hardest sections first. Listen to recordings and read scores in your spare time. Even a few minutes helps.”
Sound Production participant Hanae Wilding at AYO National Music Camp 2025. Photo: Claudio Raschella
Their stories are a testament to the transformative power of AYO. From the first audition to international stages, from orchestral performance to sound engineering and orchestral management, the programs offer young musicians a chance to grow, connect, and discover new paths.
As Ami puts it: “It’s my favourite youth orchestra I’ve ever been a part of. It’s made me a better flute player and a better musician. There’s really no reason not to apply.” And Hanae adds: “You never know what a program will do to change your life.”
Ami’s advice to future applicants:
Don’t be discouraged if you don’t get in the first time. “Even the year I didn’t get in, I learned a lot.”
Start preparing early. “You only have a short time to learn all the excerpts and your own choice piece.”
Understand the context of your excerpts. “Think—why did they choose this? What are they looking for?”
Focus on rhythm. “You can sound great, but if you miss a beat, it really sticks out.”
Be organised. “AYO taught me how to time-budget. You can’t learn everything, so you have to prioritise.”
Just apply! “There’s no reason not to. It’s super worth it.”
Hanae’s advice for future applicants:
Apply for everything. “You never know what’s going to change your life.”
Be open to new experiences. “I didn’t realise how much I’d enjoy sound production until I tried it.”
Use your time wisely. “Make a list of what’s most important and go down it.”
Practice efficiently. “Focus on the hardest sections first. Even a few minutes helps.”
Ask for help. “If you’re overwhelmed, talk to your teachers. They’ll help.”
