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.

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.