BY STEPHANIE ESLAKE
Attend a classical music performance in Australia, and you’ll be hard-pressed to find someone who isn’t connected to the Australian Youth Orchestra. From the musicians on stage to the marketing gurus behind the scenes, or even the concertgoers themselves, we all become part of the enormous community of those who have attended AYO camps; watched or listened to AYO orchestral concerts played live, or broadcast on the radio; donated to or participated in AYO programs.
Paul Nicolaou is one of those artists, but what sets him apart is the unusual variety of AYO initiatives he has taken part in — and the door is open to other young musicians who are interested in doing the same. The greater the involvement, the greater quantity of doors that open (and the greater number of lifelong friends that can be made).
Paul (pictured throughout) is a harpist and composer who attended this year’s National Music Camp and is a Media and Communications Fellow, has performed with AYO’s Momentum Ensemble, and — impressively — had taken on a leadership role as the inaugural co-chair of the AYO Youth Council.
As they say, you get out what you put in — and we wanted to know what Paul has got out of these career development experiences with Australia’s biggest classical music opportunity for early career talent. Applications for AYO are now open until August if you’d like to apply, too.
Paul, we’re going to explore a lot of what you do in music — but first, what drew you to be involved in AYO?
My journey with music has been a little back-to-front in that I didn’t start learning my primary instrument until I was 16, in late 2019. I had been playing piano and violin for a number of years before that and doing some composing as well, but deep down knew I hadn’t quite found my musical ‘conduit’ until I’d started the harp.
I joined the Sydney Youth Orchestra on harp in 2021 and had a terrific time, and so I was looking for more opportunities to play in an orchestra and be surrounded by music. I’d vaguely heard about AYO but knew almost nothing about it, so on a whim during 2021 I decided to submit an application for their 2022 performance and composition programs.
At that point, I’d been playing harp for 1.5 years, so I really didn’t know what to expect. To my complete shock, I was accepted into both AYO’s Composition program and their Winter and Summer Seasons for 2022.
My first program playing harp was AYO’s 2022 National Tour with Sir Mark Elder to celebrate their return to the stage post-COVID, and I was made Principal Harp the following season. It was a whirlwind experience and very much a case of learning ‘on the job’, but I completely fell in love with the environment.
As the co-chair of AYO Youth Council, what are some of the values that you bring to this role?
I was lucky enough to be inaugural co-chair of the AYO Youth Council alongside Bailey Ireland in 2024-25, and remained as a member of the council the following year.
I think there’s quite a noticeable shift in how Australian society and the international community is thinking about the purpose of the arts at the moment, and particularly the role of young people within that. The Youth Council has given us a platform and a voice to help shape the direction of the Australian artistic scene which we’re entering, and will be contributing to for our entire musical careers.
AYO is a highly respected organisation not just in Australia, but worldwide, and so the organisation’s artistic and operational choices have the potential (and proven record) of making genuine shifts in the artistic ecosystem. It’s a genuine honour to get to be part of dialogue, and it’s extremely fulfilling to see the breadth of its impact realised.
How has developing this relationship with AYO helped you gain confidence or understanding of what a career in music in Australia looks like?
AYO has largely represented my bridge into the professional world. My family are not professional musicians, so much of what I’ve learnt about the classical music industry has come from being in environments like AYO where there’s an air of ambition and hunger to learn amongst participants.
I think AYO is also this very special liminal space between emerging and professional worlds, where participating is not exactly a ‘professional’ experience so-to-speak, but the standard is exceptionally high, and so the environment often closely simulates that of the professional world. I’ve found that kind of setting to be extremely rare, and I think it’s easy to forget just how much that can offer to a young musician. It has presented me with opportunities to experiment and take creative risks—risks that I may not have been as willing to take in a firmly ‘professional’ setting. These have ranged from experimenting with my own playing in the orchestra, working on more unusual projects as a Media and Communication fellow which I otherwise wouldn’t have dared attempt, or even sparking new projects with friends I’ve connected with through my time with the organisation.
In every case, AYO has given me that support and guidance to explore my artistic potential freely, and equipped me to enter the professional landscape with confidence.
You have received so many accolades as a composer, but you’ve also forged a successful career as a harpist. How have you found the experience of dedicating yourself to both of these skills and disciplines — when dedication to just one in music is often such an intense and demanding job?
It’s certainly not an easy journey trying to carve a path as a professional across multiple disciplines — time I might spend editing scores is time away from my instrument (and vice versa) — and sometimes the sheer number of projects happening at once can become a little overwhelming. However with all of that said, it is so, so rewarding.
I’ve come to learn so much about how I work under pressure, have met so many incredibly creative people, and have come to a place where I genuinely believe that dedicating time to developing a diverse creative skillset at a professional level has placed me in a position where every facet of my creative practice compliments one another. For example, while I didn’t formally study composition, I’m in this privileged position that every time I show up to rehearse with a professional orchestra I’m effectively being paid to sit in on an orchestration masterclass. The harp often has extended bars of rest, so the opportunity to curl up with the score at the back of the orchestra and listen to some of Australia’s finest musicians play is truly a dream come true.
Ultimately, I think it’s impossible to predict what my career will look like in a decade’s time or how sustainable juggling multiple career avenues will be. All I can say is that I’m absolutely loving what I do and I wouldn’t trade it for the world.
You’ve also enriched your career through behind-the-scenes roles such as being a Media and Communications fellow in National Music Camp. What do you enjoy about keeping your horizons so broad in the creative fields?
I think I’m one of those people that is just so obsessively in love with music. As long as I’m in a space where I’m surrounded by it in some way, I’m in my element, especially if it involves talking about it!
I also think that as I start to picture what kind of career I want to continue to form in the longer term, I’ve always gravitated towards the idea of balancing as many different projects and skills as possible, rather than focusing on just one. I think increasingly in the arts and particularly in Australia, a broad skillset is being viewed as an asset, and I personally find that really exciting.
The idea that there is always more to learn, and that drawing upon a wide range of diverse corners of creative practice can form all sorts of new and wonderful projects really excites me for the future.
Based on your AYO experiences, what do you feel others interested in music would also gain through sending in an application?
So much. I cannot understate how significantly AYO has transformed my life for the better.
In many ways, I would say AYO has helped me find my purpose, allowed me to uncover what I’m capable of, and empowered me to aim to make my own lasting contribution to the arts in Australia.
The connections that I’ve made through AYO are ones which I know will last me a lifetime, and the support and guidance given to participants is steadfast, and comes from some of the world’s most respected musicians and artistic leaders.
For many participants, including myself, you could almost say participating in AYO has made us fall in love with music all over again, and opened our eyes to how wonderful that world can be.
What are your tips for getting the most out of an AYO experience?
One thing I wish I knew earlier is to be as absolutely prepared as you can. It might seem like it goes without saying, but this is definitely something that I learnt over time, particularly being so new to orchestral playing and a predominately self-taught composer. Do your research, know the music, do what you can to make sure you’re as ready as you can be on Day 1. I’ve found that being thoroughly prepared means that you can enjoy the experience in its fullest form and be absolutely in the present moment.
AYO’s are such wonderfully dynamic experiences, and so time can very suddenly move rapidly as the days pass by. Also, meet people! These relationships are ones that are certain to last you a lifetime.
Don’t be afraid to put yourself out there and try new things. Give yourself permission to take some creative risks — this is the place for it! The AYO environment is one of the warmest and friendliest you will encounter in your entire career.
What’s the absolute number one thing that AYO has given you?
It’s near impossible to pinpoint just one thing, but if I absolutely have to, I’d say it’s given me family. In the music industry, we have this unique experience where our colleagues are very often our closest friends. Particularly in a country like Australia where the classical music community is relatively small, our colleagues are very often colleagues for life — I think there’s something so incredibly special about that.
AYO for me is where those relationships have begun, and to grow together and celebrate each other’s achievements as if they’re our own is one of the most wonderful feelings. Thinking back to my early years with the organisation, I remember thinking, ‘I’ve found my tribe,’ and feeling such an immense sense of gratitude for that.
The fact that these people are not only my friends for life, but people I get to work with, make music alongside and grow together with, is indescribably fulfilling. I truly don’t think my life and career would be what it is now without my AYO journey.
Anything else you’d like to share?
I want to acknowledge that while there is of course lots of hard work that goes into any high-level activity, my journey has also benefited from a great deal of privilege. The arts can be a tough space, especially in Australia where our cultural purpose is possibly not as widely understood as elsewhere. For every ‘yes’ I’ve received, there have been 99 ‘no’s behind it. I’m continuing to learn that this doesn’t actually mean ‘no’, but simply ‘not yet’.
I’m extremely lucky to have an incredible network of supportive friends, colleagues and mentors around me, and know that I’ll always have people to turn to.
Apply now for the Australian Youth Orchestra’s 2027 programs. Full details on the website, and applications close 3 August.
Images supplied. Harp images: credit Rez Bagheri.
Have your say.