All musical material is “received”, believes Huw Belling. He explains why as he prepares to direct a program for The Song Company, which includes a world premiere of his own music.

Paul Stanhope explains how he was inspired by the Indian Ocean when writing a new work for the West Australian Symphony Orchestra and WASO Chorus.

Andrew Ford explains how he was given permission to write his “free ramble”, which has its premiere at the Australian Festival of Chamber Music.

Paul Dean talks his new clarinet quintet premiering at the Australian Festival of Chamber Music with Michael Collins, his childhood clarinet hero.

"Deeply personal and a bit surreal". Christine Pan's new song cycle unpacks Asian-Australian family dynamics while challenging ideas of perfection.

About to hear his Fourth Symphony premiere with WASO, the composer talks about the scope of his work – its spatiality, its silences, and its 'Gothic Burlesque'.

Jack Frerer discusses his new work, commissioned by Musica Viva Australia, and explains why he likes composing for instruments he can’t play.

Jazz polymath Vanessa Perica discusses her first-ever string quartet, about to receive its world premiere with the Australian String Quartet.

Peggy Polias takes us inside her new orchestral work – a melody-driven meta piece, which plays with the mathematical idea of self-similarity.

Olivia Bettina Davies explains how her new work for piano four hands for the Canberra International Music Festival stands out from her recent works

Composer Melody Eötvös talks about her new piece for Ensemble Q, inspired by Roman ruins in Spain and her "incredibly nerdy" hobby.

When the Adelaide Symphony Orchestra talked to Elena Kats-Chernin about performing Fast Blue Village, she decided to revisit and refresh it.