By Emily Wright | From the September/October 2025 issue of Strings
For young musicians hoping to take their playing to the next level, extracurricular opportunities provide exposure to the repertoire, culture, and customs of higher- level ensembles. On opposite sides of the Atlantic, the British and United States’ National Youth Orchestra (NYO) programs offer the kind of enrichment that fills the heart and stokes the imagination.
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In the US, the NYO is a summer program founded in 2012, based at Carnegie Hall with the help of the Weill Music Institute. There are two ensembles, depending upon the ages of the participants: NYO2 is for students ages 14–16 and NYO is for students ages 16–19. There are 110 total members, and the 2025 season runs from July 5–August 7, with the orchestra embarking on a tour of Asia with violinist Ray Chen as featured soloist.
Founded 1948, the UK’s NYO was created “. . . as a post-war symbol of hope and confidence.” Students ages 13–18 may apply and audition. Its 160 members are undertaking a yearlong (October through August) commitment involving over 40 days of live activity, including three national tours and the same number of residencies.
I reached out to several members of each ensemble to discuss their experiences. From the US, I spoke with violinist Miro, 18, who’s been playing for 12 years; violist Osiel, 17, who started playing in a school orchestra program in fifth grade; and cellist Zoë, 17. From the UK, violist Imani, 16, who started playing when she was seven; cellist Louis, 17, who started playing when he was eight; and bassist Prince, 17, who’s been playing the bass for three years, all shared their insights as well.
What pieces(s) are you working on now?
Imani:For the summer tour, we’re going to be playing some really challenging repertoire, as well as film music, which I’m not used to. I’ve always loved The Planets, and Star Wars is one of my favorite comfort movies. It will be amazing to play such exciting music in these incredible historic concert halls and spaces.
Zoë: Bach Suite No. 2 and the Elgar Cello Concerto.
Louis: For thetour, I’m really enjoying preparing for Star Wars, The Planets, and Caroline Shaw’s The Observatory. Individually, I am working on the Haydn C major Cello Concerto, the Elgar Cello Concerto, and my favorite piece at the moment, the Shostakovich Cello Sonata.
Osiel: I’m working on Hindemith’s Der Schwanendreher, Bach’s Suite No. 4, Brahms Viola sonata in F minor, excerpts from Brahms’ Symphony No. 4, and this year’s NYO-USA orchestra repertoire!
Prince: Currently, I’m preparing a few pieces independently, without any assistance: an arrangement of Glière’s 10 Duos for Two Cellos, Glière’s Intermezzo and Tarantella, and Bottesini’s Gran Duo Concertante for Violin and Double Bass. These works have all been challenging for me, but they’ve helped me become less reliant on teachers to make musical decisions, allowing me to form my own ideas and interpretations. My teacher is also helping me learn Rota’s Divertimento Concertante (for double bass and orchestra), which I’m due to perform with an orchestra soon.
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What are your goals on your instrument?
Imani: At the moment, I’m not looking to study music further academically or at conservatoire, but it’s very much something I want in my life and future. I love creating and expressing myself through music, and I appreciate the opportunity to socialize and meet so many new people. This is something I hope I can always enjoy and experience going forward.
Prince: When I first picked up the double bass, I had a clear and definite vision that this was what I wanted to do for the rest of my life, and I aspired to study at a conservatoire. However, studying music alongside maths and physics has opened my eyes to other exciting careers that combine both interests. Right now, I’m unsure what I want to do in the future—but one thing I’m certain of is that music will always be a part of my life.
Zoë: I’m honestly not sure yet, but I’d like to double major in music in college and see where I go from there. I could also see myself studying conducting as I find it really interesting!
Louis: I’m currently preparing for conservatoire auditions in November and in the future, I would love to be part of a professional orchestra and a string quartet.
How does being in NYO compare to the other orchestras you’ve been in? Does it seem more stringent than school orchestras?
Miro: Because students at NYO tend to be quite serious about music, most come prepared for the first rehearsal. Being in that kind of environment forces you to be prepared yourself.
Imani: Being in NYO has been so different to being in other orchestras on a more local scale. I’m used to playing in sections with very few violists, but being lucky enough to be part of this wonderful section of 19 people has been mind-blowing. The audiences are bigger than anywhere I’ve ever played before, and that’s given me such a sense of accomplishment. I know I’m so lucky to have had this experience.
NYO has been the only youth orchestra I’ve played in with such a large number of musicians (essentially double the sound of a standard symphony orchestra). Not only does this create a brilliant, full sound when the orchestra plays at full force, but the social side is hugely meaningful too. With so many players from so many different places, the chances of finding people with similar interests are much higher than in a regular youth orchestra. NYO is also the only residential ensemble I’ve taken part in, which has allowed me to form strong connections with musicians from across the UK. For me, NYO is a break from everything else, a space to focus purely on what I love—and I know I’m not alone in feeling that way.
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The music we play is often much more difficult than in a typical youth orchestra, so while things don’t have to be perfect, most of the tricky sections should already be under your fingers. It’s also really helpful to understand the full orchestral context and background of the piece before arriving.
Louis: Being part of NYO is worlds apart from any other orchestra I’ve been in. The level of commitment from each musician and the support from the tutors, staff, and members of the orchestra is so inspiring and motivating. Through NYO, my confidence has grown so much. Being part of such a large cello section is really uplifting, and it’s been so fun working together and making music.
Imani: I think with NYO, there is an expectation that you will dedicate the time to preparing and give it your all. However, I don’t think that’s a bad thing. Everyone there is capable and, as long as you are fully committed to your practice, rehearsals, and concerts, it’s such a rewarding experience. That said, sometimes things go wrong in your life, and you can’t always prepare as much as you want. I think it’s also great that there’s an understanding and support for that as well within the community.
What are some of the things you’ve learned playing in this ensemble?
Imani: One of the things I have learned has probably been the importance of sharing music with other people. First, with other musicians: I’ve just discovered wonderful connections playing with people who are of a similar level and appreciate making music as much as myself. Being able to share that is so special and different from my everyday experiences. Then, also the experience of sharing music with audiences and seeing people’s faces light up when they applaud for you when you know you’ve genuinely inspired people. That’s something I value so much more as a result of NYO.
Prince: One of the most important things I’ve learned from playing in such a large ensemble is that I’m not always the most important voice—and knowing when I am important is far more powerful than trying to play every note. I’ve also learned to imagine that the composer wrote the piece just for us, and to honor that by paying close attention to articulation, dynamics, and phrasing.
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Any particularly fun or meaningful stories you’d like to share?
Imani: I think my most noteworthy experience has been part of NYO Local, where you visit a local primary school to share music and tell students about your experience. Not only was this incredibly fun, but it really felt like I was making a difference, having individuals strike an interest in music when they might have never seen a violin or a viola before. I think music is really important in communities and society in general, and to be part of making people aware of that has felt really rewarding.
Prince: I remember sitting on the top floor of the Royal Albert Hall, stage left, at the 2023 NYO Proms and being instantly inspired by the incredible double bass section that year. The sheer energy they projected, with their whole bodies and movements in every crotchet and quaver, was astounding. From that moment, I wanted to be just like them. Since then, I’ve let not only my instrument but my body do the talking, showing the audience how powerful the bass section can be. That means a lot to me. It’s incredibly rewarding to know that I’ll be in exactly the same position as those 12 double bassists this year—and I can’t wait to give it everything I’ve got!
Anything else?
Miro: My most meaningful musical experiences have tended to come from studying and learning chamber and solo music. That said, my experiences in NYO are the closest I’ve come to feeling that fulfillment in orchestral playing.
Zoë: I’m so excited to be part of NYO2 for its Scotland tour this year. A lot of my family comes from the UK, but I’ve never been there before, and NYO2 makes that possible. I also love how many unique features there are for a summer program, like working with different conductors and other national youth ensembles, the family concert in Edinburgh, and cultural exchange in Scotland.
Louis: During the final rehearsal for my concert presentation on the spring residency, I got the giggles. They were uncontrollable, and the whole orchestra joined in. There were even comic trumpet sound effects!
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