Anne Cawrse knew little about Louis XIV when she was approached about turning Kathryn Purnell’s epic poem about the Sun King into a song cycle. Ahead of the work’s premiere at the Adelaide Symphony Orchestra’s She Speaks festival, she explains why she said yes.
Violist Ella Beard talks through their brand new commissioning project, which sees the premiere of three new works that address child sexual abuse.
Melody Eötvös's new piano trio, commissioned by Musica Viva Australia, is a meditation on rulership inspired by her love of trees.
Andrew Aronowicz explains how he drew on a scary German legend for his new tone poem for Melbourne Symphony Orchestra.
Sunny Kim and Hilary Kleinig explain how their new chamber work for Canberra Symphony Orchestra was born out of improvisation.
Tristan Coelho introduces his new composition, written for his wife, harpist Emily Granger, and the Queensland Symphony Orchestra.
Composer-conductor Aija Draguns talks about her brand new work about to be premiered by the Oriana Chorale.
We ask Joe Twist about his new Christmas carol, commissioned by Sydney Philharmonia Choirs for this year’s Carols at the House.
David Kotlowy and Amelia Rooney chat about their new scientifically-infused works, premiering at Adelaide's MOD.
Ella Macens explains how her new work for the Australian Haydn Ensemble shines a light on one of classical music’s most enduring romantic mysteries.
Klearhos Murphy, the recipient of Ensemble Offspring's Hatched Alumni Commission, discusses his brand new work.
Rrawun Maymuru and Nick Wales discuss their new work for the Australian Brandenburg Orchestra, which includes live singing in the Yolŋu language.
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.
