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February Season: Blog 2

Posted by Annabelle Carter
Saturday 13th February, 2016
Last Friday, nearly 100 musicians from all across Australia arrived in Brisbane to commence the February season of AYO. There is always a buzz of excitement in the air on the first day, the stimulation of being in a new city, seeing old AYO friends, meeting our conductor for the program and, of course, the anticipation for the first rehearsal in the evening. Our repertoire for this program is Prokofiev's Romeo and Juliet: Suite, Kodály's Dances of Galánta and Rachmaninoff’s Piano Concerto No.2.

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February Season: Blog 1

Posted by Giovanni Vinci
Friday 12th February, 2016
Romeo and Juliet; the tale of tragic love and languish coupled with the intensely evocative music of Sergei Prokofiev equipped the Australian Youth Orchestra with all the inspiration needed to produce yet another successful season of music making. If this were not inspiration enough, the return of the reputable and vivacious Alexandre Bloch to the AYO would have no doubt instilled excitement and anticipation into each musician attending.

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2016 AYO National Music Camp: Blog 6

Posted by Adrienne Salmon
Monday 18th January, 2016
So here we are, the end of National Music Camp. And what an adventure it has been. To think that just two weeks ago today we arrived in our new artistic home of Canberra is a little daunting, particularly when you consider everything we have achieved and witnessed in such little time. Each event or new skill we have grasped has seemed to whiz past; I especially noticed it after the first week when I devastatingly realised that we only had one week of camp to go.

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2016 AYO National Music Camp | Blog 6

Posted by Ruth Thomas
Friday 15th January, 2016
In Llewellyn Hall a group of musicians gather on the stage and prepare to play. What are they playing? New music. And when I say 'New', I mean it. These musicians aren't about to play Boulez, nor are they about to play Ives, or Glass, or even Gyger - such music is already old and familiar. I know what Adams' Scheherazade.2, written only last year, sounds like. Here in Llewellyn Hall no one knows what the music about to be played will sound like - no one knows exactly what to expect. What these musicians are about to play is completely new - music that has never before been played, or heard, by anyone. In short, music that does not yet exist. The downbeat is given and the rehearsal begins.

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