Sophia Welz, Chief Operations Officer for the South African National Youth Orchestra Foundation, provides insight into the history, the workings and work of this inspiring organisation.

The South African National Youth Orchestra is approaching half a century of achievement in promoting the development of young classical musicians. How and where did it all start?

In fact, according to the South African Music Encyclopedia edited by Jacques P. Malan and printed in 1986, the first South African Society of Music Teachers (SASMT) orchestra camp was held in Pietermaritzburg in 1945 under Cyril Wright. “There was an enrollment of 93 students, and the final concert, which included solos of various kinds, was conducted by Edward Dunn.” Camps were also considered in 1958 and 1959, but the start of a long line of courses began in earnest in 1964 at the Hartbeespoort Dam. It was organised by G.W.Koornhof, and Leo Quayle, Arthur Wegelin, Betty Pack, Willem Mathlener and Derek Ochse served on the faculty. We have so much to thank the SASMT for - our legacy and successes are a direct result of the dedication that teachers and volunteers had for the orchestra, and we are grateful for their continued support. In 1979 Sasol helped to form the South African National Youth Orchestra Foundation, and they remain a committed partner supporting the annual orchestra course and development programmes to this day.

How has SANYOF’s vision, mission and philosophy evolved over nearly five decades?

I think that putting the young musicians first, coupled with maintaining the highest standards of musical performance, has remained constant. It is an enormous undertaking and responsibility to take care of the Foundation, and technology has greatly helped us to further the interaction between our “Nationals Team” (all of us that work year-round) and the contributors that love and care for it. Being able to include interested parties (youth orchestra members, alumni, teachers, parents, arts administrators, funders…) in the decision-making process has been exciting.

Which are the orchestras and ensembles that exist under the umbrella of SANYOF, and how active are they?

The National Youth Orchestra (NYO) is our flagship ensemble and they are formed anew each year and gather for the annual Sasol National Youth Orchestra Course as well as additional national and international tours within that year.

The National Youth Concert Orchestra is formed at the Sasol National Youth Orchestra Course and does its own concerts during course time. Other ensembles are formed as they are needed; be it for development (we have a percussion ensemble this year) or because there is an opportunity to create one through additional funding. We try to include as many talented young musicians on the courses as we can.

This year, in addition to our annual Sasol National Youth Orchestra Course, we’re very excited to have the top string players performing at the National Arts Festival in Grahamstown, and we have a course specially designed for Winds, Brass and Percussion in September in Cape Town.

Give us an overview of the most important programmes and courses SANYOF offers and also its development initiatives?

We think what is important is that the National Youth Orchestra Foundation has a very unique function and an important role that is different to other youth orchestras in the country. It is not a regional youth orchestra that operates year-round, but more of a “booster injection” (through the courses) and national support structure (through the resources and support given from SANYOF to other youth orchestras). For the young musicians it is an opportunity to play in an orchestra of the highest possible standard, as we draw from such a large pool. We rely on teachers, schools, music initiatives, regional orchestras and universities to develop the young musicians to be at the standard needed, and in return we supply education of the highest quality at the courses and through our development programmes, and create opportunities for young talented musicians to develop and access professional careers.

One of our main focus areas is on homegrown, new South African music, and our partnership with New Music South Africa (NMSA) has been extremely exciting and has enabled us to do a call for scores in 2009 and another one is planned for 2010. We also have a workshop “Meet the Orchestra” for emerging composers to attend, which is run by NMSA. It’s vital that we play our own music, and give opportunities to composers to have their work performed – local is very lekker.

Our Sasol Development Programme is geared towards job creation and skills development – we have an instrument repair programme, masterclasses, scholarships to attend SANYOF courses, and we plan a project for music libraries housing orchestral music, music critic’s workshops, young arts adminstrator training, instrument platforms, development of the recording of classical music, and international co-operation. It is important for us to make a contribution that will serve the entire youth orchestral music community in South Africa.

What has been SANYOF’s international exposure?

The National Youth Orchestra has toured Scotland, Spain, Israel, France, Switzerland, Russia and Germany. In 1994, on a return to Scotland, the National Youth Orchestra received rave reviews and was hailed as one of the leading youth orchestras in the world. Performances were broadcast by the BBC.

In July 1998 the South African National Youth Orchestra was one of the ten youth orchestras from all parts of the world invited to take part in a mass concert on Red Square as part of the celebrations for Moscow’s 850th anniversary. The concert was televised live on a worldwide link-up. In addition, the South African National Youth Orchestra gave a memorable performance to a capacity audience at the Moscow Conservatoire.

The orchestra was invited to represent South Africa and the African continent at the international Beethovenfest in Bonn, Germany, in 2006 and gave a concert in Berlin. The NYO was hailed as one of the best orchestras ever to have performed at the festival.

Playing in the symphony orchestra has been an important part in the development of most of the young South Africans in our professional orchestras, while a number of alumni have distinguished themselves as soloists and conductors both locally and abroad. Our participants have access to international exposure and networks through our international faculty members, and the Foundation’s affiliations.

On a recent visit to Europe for the European Federation of National Youth Orchestras, we were invited to be co-operating members of the Federation, which is an honour and opportunity for South Africa to play an active role in youth orchestral music globally.

You have just completed a series of traveling auditions, which must have given you a thorough impression of the young talent that’s out there. Can you comment on the ‘state of the nation’ with regards to classical music training?

South Africa’s young musicians are so talented and have so much to offer. The usual problems: acquiring a decent instrument and finding a teacher, remain. Access to music education is limited, but the hunger to play, and play well, seems insatiable. The informal music education sector (NGOs, music initiatives, private music centres) has filled an enormous gap that was left with the large-scale closure of government school music departments post-apartheid, but the sad reality remains that only a few children have access to music education at school, when they need it most.

Last year we noticed that strings, percussion and harp needed special attention and development, and so we have designed programmes and courses to help with that. Teachers, especially for strings, are in short supply, and we hope to inspire a host of young musicians to go into teaching.

Our brass and woodwind auditions were of an incredibly high standard - I am particularly proud of the sixteen oboists that applied this year (I didn’t even know there were so many of you out there!) It is always nice to see how people improve from one year to the next, and also to see the excitement on the new faces applying to come to course for the first time.

It is wonderful to see so many regional youth orchestras, I think more than we’ve ever had before, from the Limpopo Youth Orchestra to the Eastern Cape Philharmonic Youth Orchestra, the Cape Philharmonic Youth Orchestra to the KwaZulu Natal Youth Orchestra, Free State Youth Orchestra and university orchestras and music centre orchestras and school orchestras - so much activity and orchestral training makes a definite impact on the overall standard of ensemble playing at the courses.

Can you introduce us to some National Youth Orchestra members, and their stories, representative of the social spectrum of South African youth?

Our participants range in age from 13-25 in the year that they play in the orchestra. They are from all over South Africa and represent all language groups. They have big dreams and aspirations, and they’re hardworking and inspiring young people. After the 2009 Sasol National Youth Orchestra Course, this is what some of them had to say:

It has shown me the talent South Africa has, and has given me something to work towards for next year and inspired me to become an orchestral player. The tutoring definitely helped and seeing the National Youth Orchestra in action and hearing them play, has given me inspiration to carry on my instrument and strive to be as good as them. Jonathan, 18, viola, Durban

If you don’t audition for nationals 2010 you’ll miss out as we’re going to KZN. I’m so interested going to South Africa’s playground. Kgaugelo, 20, viola, Pretoria

I would love to become a conductress. Freya, 16, violin, Cape Town

Our alumni contribute “My NYO Experience” articles for our website. See here: www.sanyo.org.za/alumni/my-nyo-story

What, in your view, is the biggest ‘gift’ a young musician is presented with through association with SANYO?

I am not sure that the biggest gift is even tangible – when our alumni talk about their very vivid and happy memories of the courses in the 60s and 70s, the friends made and kept, music enjoyed - it’s all about the magic of orchestral playing and everything that goes with it. For the young musicians pursuing a professional career it is invaluable– your “Nationals Network” is for life, and it slots you into the professional world; For the younger participant particularly, the inspiration and encouragement of the other participants and teachers helps you leap up at least by a grade at the course; For some it will change their life course to that of a career in music. Of course, the best spin-off is that it inspires us all to practise – and have fun while doing so.

SANYOF is very active on social networking pages such as Facebook, with thousands of members. No doubt tools like these are hugely beneficial to especially organisations targeting the youth. How are you applying such tools and with what success?

Our social media strategy has been most fruitful. It is cheap, or in most cases free, and our target audience is easily accessible. Twitter and MySpace as well as a host of online listings have been particularly useful for reaching our alumni and international audience. Our website, kindly hosted by Flow Communications with Search Engine Optimisation done by ROI Media, has been an enormous success and we’re using www.betterplace.org to receive online donations. Less money spent on marketing means more money spent on the music!

Who is Sophia Welz and how did your relationship with SANYOF come about?

I first did a National Youth Orchestra Course in 1997 and attended courses on and off until 2004 as a bassoonist. In 2007 the Foundation requested help from alumni and arts administrators, and thereafter I served on the Steering Committee. At the end of 2008 when Laurie Wapenaar took over as Executive Director, she asked if I would be interested in joining the team and I haven’t looked back since. The National Youth Orchestra has meant so much to me in my own life, and it is an honour to be able to do what I do.

What do you feel has been the Foundation’s greatest achievement in the time that you’ve been involved?

It is so difficult to choose! The orchestras played beautifully at their concerts, the instructors and conductors worked so hard, volunteers gave so much, our funders remain a constant source of support – I think our greatest achievement is putting SANYOF on a very healthy, sustainable and strong path to inevitable success.

What is the best thing about your job?

I think it’s probably when we’ve been working incredibly hard to get something right – and then it HAPPENS! The first rehearsal at a course, the excitement before a concert, the exhilaration afterwards… The Nationals Team is a constant source of inspiration and motivation and we’re making a difference.

For more information on SANYOF’s busy 2010 programme, visit www.sanyo.org.za. For concert information, consult our What’s On Calendar.