The work is "unashamedly" Territorian in content and flavour.I have tried to capture at least some aspects of the essence of living in the Northern Territory, whether it be to do with the land or the lifestyle - the two are, after all, inextricably entwined. Throughout the lyrics are two recurring themes: a consciousness of the kaleidescope of colours in the Territory landscape - obvious in "Outback Somewhere", and more subtle in "Night Train" - and its ancient timelessness. Other common themes will be preceived by every listener. The first movement, in question and answer form, introduces the audience to this part of Australia."Nature's Theatre" captures the drama of a Top End wet season thunder storm, and in "Boogie for the Dry" we sense the communal energy released by the arrival of cooler weather and relief from the enervating heat of the wet. In between is a tribute to the Old Banyan Tree which stands in Darwin's Civic Square, whose natural cycles of life illustrate the effects of both the Wet and Dry seasons. It features a rather haunting chordal motif and dreamlike melody which evoke a sense of old age. In "Namatjira" we acknowledge one of the Territory's most iconic figures. The melody has a hint of country, but its immediate sombreness after "Boogie" draws attention to the issues that surrounded the painter's life. The inclusion of "The Night Train" in this suite can be linked to our own Ghan, which now comes right to the Top End. The repetitive compound rhythm of the music evokes the motion of train wheels rolling through the night. The train is somewhat romanticised by association with this beautiful poem, but the truth of the nurturing, timeless Mother Bush stands. I have enjoyed setting the lyrics of Oodjeroo Noonuccal, Henry Lawson and especially Des Fishlock, who shares family with one of our Chorale members, and I thank them for their inspiration. I hope audiences are better accquainted with the Northern Territory as a result of listening to this work - if you need words like "fillies" and the capitalisation of "Wet" and "Dry" explained, there are plenty of locals who would be delighted to oblige! I thank Stephan Bulmer for his advice with guitar style and idioms, John Hammat for his assistance with my use of Sibelius, my family for their patience while I was totally distracted from them during weekend, and Jenny Scott for her encouraging supervision of the Suite's production process. I also thank the Darwin Chorale for embracing the opportunity to be part of the composition and congratulate them on its premier performance. Back