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For voices (type unspecified), with various soli and recorded sounds. Download the audio tracks here.

I wrote Antarctica during and after a trip to Casey Station, Antarctica onboard the icebreaker Aurora Australis – an Australian icon, nearing the end of her service. The opening movement is an aria set against the backdrop of a recording I made of the ship cutting through sea-ice (standing in the bow while my stinging hands clenched the microphone! – I soon learned to glove-up!). A solo voice sings, hand-in-hand with mighty bricks of harmony: a blazing seascape coated in white. Aeliatoric music follows, depicting a hill near Casey Station where the scene can be divided into three colossal horizontal strips of sky, sea and ice. ‘Whalesong’ is a harmonisation of a finback whale call: the Aurora Australis recovered a hydrophone which had been recording the crooning of sea mammals. Over a year’s worth of sound was logged; I picked the bit in D-minor. Infinite Monochrome is a pock-marked canon inspired by – in the words of Voyage Leader James Maloney – “...the vision of a brilliant bright expanse where ice, snow and cloud coalesced, holding the ship suspended in white nothingness.” Every direction is a hiss of white (painful to the naked eye!) and the frozen sea bristles, splintered by town-sized icebergs. In the last movement ‘Reeve Hill’ short chorale-like utterances are sown among long thoughtful stillnesses, played over my recording of ice gently melting on Reeve Hill, far-off Adélie penguins and snow-petrels nattering to each other.

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‘Turing Believes Machines Think’ is a setting of British computer pioneer Alan Turing’s tragic last syllogism:

Turing believes machines think
Turing lies with men
Therefore machines do not think

Yours in distress, Alan

This curious text appears at the end of a letter from Turing to a friend, conveying his distress at his prosecution for a relationship with a man. I’ve tried to express Turing’s fear that his life’s work – that of making ‘machines think’ – will be nullified by his criminal conviction.

The work was commissioned and premiered by the Sydney Gay and Lesbian Choir.

There is an optional backing track: the sound of Turing’s ‘Bombe’ machine (download the track here).

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A setting of the Last Gospel:

In the beginning was the Word, and the Word was with God, and God was the Word...

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Who Are We marvels at the enormity of the universe. The text is by the great scientist, communicator and atheist, Carl Sagan:

We find that we live on an insignificant planet of a humdrum star lost in a galaxy in some forgotten corner of a universe containing far more galaxies than people.

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Text by Pindar:

When the chamber of the scarlet-clothed Hours is opened
And the nectareous flowers usher in the fragrant spring,
Then are scattered, then, on the immortal ground
The lovely petals of violets; roses are wound in our hair;
Loudly echo the voices of songs to the flutes,
And choirs step in procession to dark-ribboned Semele.

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A simple, harmonically-engaging setting of Veni Creator Spiritus, based on Rabanus Maurus' 9th century hymn. A solo plainchant singer weaves the traditional melody through a six-part harmonisation.

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An arrangement of this beautiful Scottish folksong.

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F.S. Kelly was an Australian-British composer who began composing his "Elegy in Memoriam Rupert Brooke" as his dear friend, the poet Brooke lay dying. Kelly survived the carnage at Gallipoli, only to die while rushing a German machine gun at Beaucourt-sur-l'Ancre. I adapted the famous string work for voices in a setting one of Brooke's best-known poems.

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My arrangement of a beautiful German folk song, Kindlein mein. After the tune is heard very simply from a soloist, it’s heard again – very slowly –shared among the six parts of the choir.

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This is a song by Major Lazer that I really connect with. simple and direct lyrics and a melody with a beautiful shape.

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