Mahāsāgar

When approached by the West Australian Symphony Orchestra to compose a new piece featuring its chorus, I was inspired by the idea of looking out from the Western shoreline into the vast beauty of the ocean. This commission was made possible by Catherine Dunn and members of the WASO Chorus, giving me the rare opportunity to compose a large-scale work with a truly epic choral part.

Titled Mahāsāgar- the Hindi word for ‘ocean’ - the piece speaks both to the specific marine environment of the Indian Ocean and to broader, universal themes. Best described as a symphonic song cycle in five movements, the structure mirrors the rise and slanted fall of a wave. The commission also facilitated the creation of new poetry by Australian writers. The first and final movements, Nara Koort (Seashore Heart) and High Tide for Healing, feature modular Noongar phrases created by Koreng Wudjari Noongar poet Cass Lynch, paired with English poetic responses. The poetry reflects the enduring presence and cultural continuity of the Noongar people.

I am deeply grateful to Cass and to language expert Sharon Gregory for their guidance; both will work with the WASO Chorus in preparing the piece.

Musically, these outer movements use undulating, wave-like phrases. The chorus mimics the sea’s exhalation, using sibilant sounds that cue the orchestra to build an evocative soundscape of the coast - breathing waves and distant crashing surf.

The middle three movements introduce a series of vivid dramatic scenarios. The second movement, Lifesaver, sets a 1931 poem by Elizabeth Riddell describing the chilling image of a young man rescued too late from drowning. The orchestra creates a stormy soundscape with swirling strings, winds and timpani beats evoking a racing heart. This movement introduces soloists soprano Sara Macliver and tenor Andrew Goodwin - two of my favourite Australian singers.

The third movement, Silentio ad mare (Silence at Sea), uses a poem by Alexander Maloof and Rhys Halkidis. Written in response to the dangerous journeys of refugee families, their 2012 poem captures the suspense of being trapped at sea. To balance its tension, I included a stanza from one of Michael Leunig’s prayers - “God bless this tiny little boat” - sung by a children’s chorus. Before his passing, Michael embraced this juxtaposition and warmly gave his blessing. As the choir sings, “When the flashing lights appear at sea..the anxious mood crescendos into an orchestral interlude mimicking the mechanical sounds of coastal military vessels - blaring horns, bells and grinding motors. The drama subsides and a sense of relief emerges.

The fourth movement, The Osprey, is more uplifting. In a new poem by Steve Hawke, a dialogue unfolds between Ann, a devoted birdwatcher (sung by Macliver), and an osprey, embodied by the chorus. The sea hawk soars above the waves seeking prey, while Ann reflects on her life. The movement culminates in a fanfare-like climax for choir and orchestra celebrating the “boundless freedom of the skies”.

This idea of‘freedom’ marks a turning point. The waveshaped musical themes from the beginning return in the final movement. Having explored danger, sorrow and wonder, the piece concludes with the idea of healing. The sea’s breath fades, as if the tide is gently going out.

Asher Fisch conducts the premiere of Paul Stanhope’s Mahāsāgar with Sara Macliver and Andrew Goodwin, the West Australian Symphony Orchestra, WASO Chorus and Aquinas College Schola Cantorum at Winthrop Hall, Perth on 29 &30 August.

Words by Paul Stanhope. Originally published in Limelight Magazine (August 2025).