Spanning nearly 400 years of music, this debut concert by Croissants and Whiskey heralds a new era in composition for the Baroque quartet.

A round-up of our recent news reports.

Like flakey pastry and finely aged spirits, the unlikely pairing of Baroque instruments and new works by Australian composers is the basis for a new 'prog-baroque' ensemble, explains violist Katie Yap.

The finalists for this year's coveted prize are harpist Emily Granger and violists Henry Justo and Katie Yap.

Wenhong Luo and William Vyvyan Murray talk all-things viola (and yes, there's the statuary joke).

The violist previews her second Music, She Wrote festival, which explores all the ways in which women have had to fight for their place in the music industry.

The gut-string evangelist explains her trio's blend of ancient, modern, and just a bit of trad.

Bartsch's Merlyn Myer Commission, along with arrangements of selections from her solo classical/jazz hybrid albums, provides a subtle submergence in a range of lush lullabies and flowing lattices of chamber writing.

Nat Bartch's new work The Glasshouse, the 2021 Merlyn Myer Commission, is inspired by portraits taken by Victorian-era photographer Julia Margaret Cameron. 

A new festival looks at women composers through the ages – and for once includes the token man.

A violist and two double bassists are in the running for the $20,000 cash prize.

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