Composer Carl Vine discusses his latest work for the Sydney Symphony Orchestra, in which he explores musical ideas one would least expect at a traditional symphonic concert.

Percussionist-composer Thea Rossen's new ocean-inspired work is performed on flowerpots, glass, metal and dried coral.

Kirsten Milenko hopes the delicate musical branches in her new work for Ensemble Offspring will grow and resonate, much like the forest networks that inspired them.

Graeme Koehne introduces his latest work for the Adelaide Symphony Orchestra, which he describes as “an aesthetic discussion in music”.

Jakub Jankowski explains how his new piece for the ACO is built around a musical device popular during the Baroque period.

Miriama Young explains how she was inspired by Beethoven’s Ninth when she was commissioned by Canberra Symphony Orchestra.

Premiering at the Australian Festival of Chamber Music, Stephen Johnson's quintet is inspired by the most haunting ghost stories ever told.

Lachlan Skipworth has always enjoyed writing for the flute. His new concerto was written especially for WASO's Principal Flute, Andrew Nicholson.

Ross Edwards tells Maddy Briggs about his new hour-long work, inspired by Monteverdi, which grapples with our looming ecological crisis.

Deborah Cheetham Fraillon explains how her new work broke her compositional silence after the Voice to Parliament referendum left her mute.

Opening Melbourne Chamber Orchestra’s 2024 season, a new work from Katy Abbott taps into the complexity of musical communication.

Inspired by her favourite video game, Holly Harrison explains how extreme sports and music become one in her latest work for Omega Ensemble.