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In the fourth and final episode of Passing Notes, we sit down with the Australian Youth Orchestra’s own CEO, Kimbali Harding. A highly accomplished pianist, violinist and conductor, Kimbali is now recognised as one of Australia’s foremost musical educators and artistic leaders. This episode dives into Kimbali’s journey as young musician pursuing a career as a concert pianist overseas, returning to Australia and discovering her passion for music education, and her current chapter carving the way for one of the world’s leading arts training organisations—the Australian Youth Orchestra. ---------------------------------------------------------------- Created by harpist-composer and 2026 AYO Media & Communication Fellow, Passing Notes is a podcast which aims to demystify, debunk and explore the diversity of a career in classical music performance. As young performers in Australia, there can often be the idea of a ‘right way’ to go about pursing a successful career in classical performance—a formula or ‘golden path’ which young musicians might feel pressure to conform to. Throughout this miniseries, we learn how in reality, no two pathways look the same. By entering the worlds of some of Australia’s leading performers and artistic thinkers, we hear about what their journey has looked like navigating a career in classical performance. ---------------------------------------------------------------- Music included in this episode: Rhapsody on a Theme of Paganini, Op.43 by Sergei Rachmaninoff (1934). Valentina Lisitsa, piano; Michael Francis, conductor; London Symphony Orchestra, (2012). “Romanze (Larghetto)” No. 2 from Piano Concerto No.1, Op.11 by Frédéric Chopin (1830). Yundi Li, piano & conductor; Warsaw Philharmonic Orchestra, (2019). “Rondo (Vivace)” No. 3 from Piano Concerto No.1, Op.11 by Frédéric Chopin (1830). Yundi Li, piano & conductor; Warsaw Philharmonic Orchestra, (2019)

In the third episode of Passing Notes, we sit down with Australian oboist Joshua Oates. Now Principal Oboe with the Adelaide Symphony Orchestra, and regular soloist and chamber musician, Josh has quickly become recognised as one of Australia’s foremost wind players. This episode explores Josh’s journey as a student both in Australia and overseas, challenges he has faced in adopting his primary instrument later than many of his peers, and how he’s found his home in the symphony orchestra. ---------------------------------------------------------------- Created by harpist-composer and 2026 AYO Media & Communication Fellow, Passing Notes is a podcast which aims to demystify, debunk and explore the diversity of a career in classical music performance. As young performers in Australia, there can often be the idea of a ‘right way’ to go about pursing a successful career in classical performance—a formula or ‘golden path’ which young musicians might feel pressure to conform to. Throughout this miniseries, we learn how in reality, no two pathways look the same. By entering the worlds of some of Australia’s leading performers and artistic thinkers, we hear about what their journey has looked like navigating a career in classical performance. ---------------------------------------------------------------- Music included in this episode: “Moss Grotto” from Hollow Knight: Silksong (Original Soundtrack) by Christopher Larkin (2025). “Menuet” No. 3 from Le tombeau de Couperin, M.68 by Maurice Ravel (1917). David Stanhope, conductor; Adelaide Symphony Orchestra, (2008).

In the second episode of Passing Notes, we sit down with Australian violinist Sophie Rowell. Currently Artistic Director of the Melbourne Chamber Orchestra, Sophie has firmly carved her legacy as one of Australia’s foremost artistic leaders, having previously held positions in the Australian String Quartet and the Melbourne Symphony Orchestra as Concertmaster. The episode explores Sophie’s extraordinary journey across her career as a renowned chamber musician, concertmaster, and now artistic director, how professional life in Australia has compared to her experiences working overseas, and the ways her career has shaped her passion for teaching. ---------------------------------------------------------------- Created by harpist-composer and 2026 AYO Media & Communication Fellow, Passing Notes is a podcast which aims to demystify, debunk and explore the diversity of a career in classical music performance. As young performers in Australia, there can often be the idea of a ‘right way’ to go about pursing a successful career in classical performance—a formula or ‘golden path’ which young musicians might feel pressure to conform to. Throughout this miniseries, we learn how in reality, no two pathways look the same. By entering the worlds of some of Australia’s leading performers and artistic thinkers, we hear about what their journey has looked like navigating a career in classical performance. ----------------------------------------------------------------   Music included in this episode: “Assez vif, très rythmé” No. 2 from String Quartet in F Major, M.35 by Maurice Ravel (1903). Australian String Quartet (ASQ: Sophie Rowell, violin; Anne Horton, violin; Sally Boud, viola; Rachel Johnston, cello), (2012). “Andantino, doucement expressif” No. 3 from String Quartet in G Minor, Op.10, L.85 by Claude Debussy (1893). Australian String Quartet (ASQ: Sophie Rowell, violin; Anne Horton, violin; Sally Boud, viola; Rachel Johnston, cello), (2012).

In the first episode of Passing Notes, we sit down with Australian harpist Jessica Fotinos. Now Principal Harp with the Adelaide Symphony Orchestra, Jessica’s artistic practice has taken her across the globe, living and performing in Germany, completing residencies in Canada and France, and even joining a new orchestra in China as their first ever Principal Harpist. The episode dives into Jessica’s experiences developing her craft here in Australia, her interest in contemporary music, living and working overseas, and what things have been like returning home. ---------------------------------------------------------------- Created by harpist-composer and 2026 AYO Media & Communication Fellow, Passing Notes is a podcast which aims to demystify, debunk and explore the diversity of a career in classical music performance. As young performers in Australia, there can often be the idea of a ‘right way’ to go about pursing a successful career in classical performance—a formula or ‘golden path’ which young musicians might feel pressure to conform to. Throughout this miniseries, we learn how in reality, no two pathways look the same. By entering the worlds of some of Australia’s leading performers and artistic thinkers, we hear about what their journey has looked like navigating a career in classical performance. ----------------------------------------------------------------   Music included in this episode: “Composition with Red, Yellow and Blue” No. 7 from Mondrian Interiors by Stuart Greenbaum (2007). Jessica Fotinos, solo harp; musicians of the Australian National Academy of Music (ANAM), (2016). “Vienna, 1886” No. 3 from The Lost Art of Letter Writing by Brett Dean (2006). Frank Peter Zimmermann, solo violin; Jonathan Nott, conductor; Sydney Symphony Orchestra, (2013). 9 Candles for Dark Nights by Stuart Greenbaum (2005). Jessica Fotinos, harp, (2016). “Composition Chequerboard, Dark Colours” No. 5 from Mondrian Interiors by Stuart Greenbaum (2007). Musicians of the Australian National Academy of Music (ANAM), (2016).

In 'Between Worlds', ACO Principal Cellist Timo-Veikko “Tipi” Valve joins AYO Momentum Ensemble for two concerts this November at UKARIA in the Adelaide Hills and ACO on the Pier in Sydney. In conversation with Momentum Ensemble violinist and AYO Media and Communication Fellow Julia Hill, Tipi shares how the program reflects his journey between Finland and Australia. Featuring works like Jaako Kuusisto’s 'Wiima', Tipi hopes to transport audiences to the stark beauty of a Finnish winter while celebrating Australia’s open, creative musical culture that has shaped his artistry over 20 years. He discusses the collaborative nature of directing from the cello, curating pieces to spark fresh perspectives, and encourages young musicians to find their own voice and embrace freedom in music-making. Tipi looks forward to learning from AYO musicians during this exciting week of discovery and performance.

The Question Of Privilege: In Conversation With Lauren McCormick and Zinia Chan In her own words, Maddie Hammond is a Perth-based ‘composer, trumpet player, music educator, and above all music enthusiast’. In January 2023, Maddie was one of three participants of the Words About Music program at AYO National Music Camp. During camp, (between writing program notes, devising blog posts, presenting at concerts and creating content for the annual camp calendar) Maddie conducted several interviews which she compiled into three episodes for the AYO podcast.

New Music Part 2: In Conversation with Anne Cawrse, Phillip Cullen and Nick Kyrikakis In her own words, Maddie Hammond is a Perth-based ‘composer, trumpet player, music educator, and above all music enthusiast’. In January 2023, Maddie was one of three participants of the Words About Music program at AYO National Music Camp. During camp, (between writing program notes, devising blog posts, presenting at concerts and creating content for the annual camp calendar) Maddie conducted several interviews which she compiled into three episodes for the AYO podcast.

New Music Part 1: In Conversation with Conductors Umberto Clerici and James Judd In her own words, Maddie Hammond is a Perth-based ‘composer, trumpet player, music educator, and above all music enthusiast’. In January 2023, Maddie was one of three participants of the Words About Music program at AYO National Music Camp. During camp, (between writing program notes, devising blog posts, presenting at concerts and creating content for the annual camp calendar) Maddie conducted several interviews which she compiled into three episodes for the AYO podcast.

What can producing an orchestral concert teach you about engineering a live punk rock show? In today’s episode we chat to musician, sound engineer, and Sound Production alumna, Olivia Aquilina. Coming from a background of producing live gigs in Adelaide, Oliva talks to us about about what it’s like to come to an AYO program without possessing a classical music background, working in collaboration, and she gives her top tips to everyone thinking about applying for an AYO program. We'd like to acknowledge we’ve recorded this podcast on the traditional lands of the Eora and the Kuarna Nations, and pay our respects to Elders both past, present and future.

Have you ever wondered how our musicians deal with the challenges of approaching difficult repertoire? We sat down with AYO flautist, Jemima Drews, and AYO flute tutor, Lisa-Maree Amos to talk a little bit about how they tackled Debussy’s notoriously tricky “Prélude à l'après-midi d'un faune” (Prelude to the Afternoon of a Faun) earlier this year at our Autumn Music Camp. We'd like to acknowledge we’ve recorded this podcast on the traditional lands of the Kulin Nations and pay our respects to Elders both past, present and future.

What was that first piece you heard that made you love classical music? What does the music mean to you now and how can we make it accessible to more audiences? We asked the next generation of young musicians at AYO Autumn Music Camp about their introduction to classical music and a rundown of their favourites from then to now. Hear from violinist Robyn Blann, bassoonist Tiger Chou, horn player Simon Jones and percussionist Carissa Soares. We'd like to acknowledge we’ve recorded this podcast on the traditional lands of the Kulin Nations and pay our respects to Elders both past, present and future.

For our third and final mini-series exploring tricks of the trade and what it takes to be a multi-faceted artist in the 21st century we had a glimpse into the world of orchestral managing. What kind of personality is best suited to arts administration? How do you react to changing situations? Do you think you could handle the role? Find out in our latest podcast with the orchestral managers. We'd like to acknowledge we’ve recorded this podcast on the traditional lands of the Kulin Nations and pay our respects to Elders both past, present and future.

On our second part of this mini series on forging a multi-faceted career as an artist, we spoke to two industry specialists about sound production, musical recording and creating the experience of a classical concert through technology. We'd like to acknowledge we’ve recorded this podcast on the traditional lands of the Kulin Nations and pay our respects to Elders both past, present and future.

Forging a multi-faceted career as an artist in the 21st century requires a broad understanding of the arts sector, from putting on a production to gathering an audience. We chatted to two experts in the field of communication and music. They broke down how a musician can present themselves on stage, online and tell their story to an audience. We'd like to acknowledge we’ve recorded this podcast on the traditional lands of the Kulin Nations and pay our respects to Elders both past, present and future.

On the latest episode of the podcast we welcomed AYO violin alumna Frances Evans, who is set to host the inaugural Warren Chamber Music Festival in the Central West of NSW. The festival will feature a line-up packed with AYO alumni and hopes to attract locals and travellers to experience chamber music in a rural setting. Frances chats to us about her musical career since performing with AYO and how she hopes Australia can expand its cultural experiences far and wide. The Warren Chamber Music Festival will take place 7-9 May 2021, Warren NSW For more information visit: https://bit.ly/30dVQtZ We'd like to acknowledge we’ve recorded this podcast on the traditional lands of the Eora, Ngemba, Wongaibon, Wayilwan, Waiabara Nations and pay our respects to Elders both past, present and future.