Carl Vine introduces his new clarinet quintet for Omega Ensemble, inspired by the cooperation, collaboration, and mutual understanding he experienced as a mentor for the ensemble's CoLAB program.

Leah Curtis tells us about her new work The Ground, and the chance to collaborate closely with SXS Didgeridoo player Chris Williams during its creation.

Joe Chindamo's new concerto for trombone and orchestra is inspired by the nature of duality in the works of Edgar Allen Poe and Carl Jung.

The composer discusses her new piece inspired by the Indigenous practice of listening with the whole body.

Elliott Gyger tells us about his new piece for WASO, and exactly what a concerto for orchestra is.

Sainsbury writes about how composing, for him, is work, art, cultural expression, and often an expression of play and fun within those. 

Bianca Gannon writes about her new work, which draws heavily on Indonesian music traditions – in particular the angklung, an instrument made of bamboo tubes attached to bamboo frames.

Postponed three years because of COVID, Ben Robinson's 'new-old' work is about to be given its world premiere by Ensemble Apex.

Three young composers describe the new works they have written as part of Artology's 2021 Fanfare competition, which will be performed along with nine other fanfares in Brisbane this week.

The composer tells us about their new work for Queensland Symphony Orchestra, a "love letter" to the wondrous few years surrounding the turn of the 20th century.

How do we ensure that adventurous new music gets more than one performance?

Erik Griswold's new work for Brisbane Music Festival was inspired by our current COVID predicament, and Cole Porter's song Ev'ry Time We Say Goodbye.