Justin Williams discusses his First Symphony, which the Queensland Symphony Orchestra will debut alongside Mahler’s Symphony No. 6.

Sally Greenaway responds to our collective experience of navigating the pandemic in a poignant new work for four double basses.

The composer discusses a new work that imagines the harmonic series of our solar system and employs magic squares to give each planet a musical colour.

Anne Cawrse explains how three Australian women inspired her new concerto for marimba and orchestra.

Andrew Schultz discusses his new work for the WASO, which draws on Thelonious Monk and a folk song celebrating wild horses.

Elena Kats-Chernin explains how her first violin concerto, written for soloist Emily Sun, draws on ideas she had just explored in a score for a German silent film set in the circus world.

Melbourne Symphony Orchestra’s Composer in Residence for 2023, Mary Finsterer, explains how her new work takes inspiration from the vast canon of musical settings of the Latin chant O magnum mysterium.

Leah Curtis introduces her work Infinite Possibilities, which maps and illuminates new sound worlds, ahead of its world premiere by Canberra Symphony Orchestra.

Nigel Westlake discusses his new Trumpet Concerto, written for Brent Grapes and the West Australian Symphony Orchestra, and reveals that the opening movement was composed in memory of Paul Goodchild.

Alice Chance explains why she's always had a soft spot for HIPsters, and her delight in writing four Baroque Sonatas for Evergreen Ensemble, which she compares to scribbling recipes on napkins and tossing them to capable chefs.

First Nations composers Sonya Holowell and Elizabeth Sheppard discuss Songs from the Heart, a new a cappella program that responds to the Uluru Statement from the Heart.

Ross Fiddes discusses his new work for soprano and piano, using words by poet Derek Dowding, which premieres next week at the Newcastle Music Festival.