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.

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.