While masterfully adaptable when his creativity was restricted by others, it was on being given a free rein that the Polish composer revealed his unique brilliance, as Adrian Thomas explains.

Experimental pianist Margaret Leng Tan, famous for her performances on toy piano, tells us about her work with John Cage and George Crumb, and how she learned to caw like a crow.

Violist Katie Yap introduces us to the period instrument ensemble, who describe themselves as ‘musical explorers’.

Roger Benedict and Dr Tracy Westerman tell us about how this latest concert will be raising funds for Indigenous suicide prevention.

The 19th century’s most romantic of Romantics was never short of an alter ego to embody his complex musical ideas. Ahead of performances of his ever-popular Piano Concerto, Clive Paget talks to Asher Fisch and asks will the real Robert Schumann please stand up?

The American dancer discusses his legendary partnership with Natalia Osipova and performing in her curated program of solos and duets coming to Sydney.

In his new concerto for Amy Dickson, Matthew Hindson harnesses the incredible flexibility of the soprano saxophone.

Composer Lachlan Skipworth tells us about collaborating with Numbulwar musician Don Nunggarrgalu on a new work commissioned for the orchestra's 30th birthday.

Stanton Welch’s new version of Sylvia puts a welcome spotlight on composer Léo Delibes. As The Australian Ballet prepares to perform it for the first time, we explore the history of the work and its score.

With Stalin bearing down on him, Shostakovich withdrew his monumental Fourth Symphony at the very last minute, consigning it to a drawer for the next 25 years. Mark Wigglesworth tells us why the score was so dangerous, and how the composer’s music changed forever.

A comprehensive survey of paintings and drawings by Margaret Olley is delighting audiences in Brisbane.

Instrumental colour aplenty in this year's musical line-up.