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The beginnings and development of a New Zealand music: The life ...

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92<br />

but tempered this observation with:<br />

"As a work the symphony has several shortcomings<br />

those in search <strong>of</strong> fault would be quick to seize<br />

upon. <strong>The</strong> principal themes are.abstrusea.nd<br />

discursive, the texture is uneven, <strong>and</strong> the<br />

effectiveness <strong>of</strong> the trumpet pa~~ages is not<br />

heightened by their frequency."<br />

L.C.M.S., in reviewing the first Auckl<strong>and</strong> performance <strong>of</strong> the work, sidestepped<br />

making a direct criticism <strong>of</strong> the symphony by writing:<br />

"Whether this material has sufficient interest,<br />

whether the scoring tends to become a monochrome,<br />

<strong>and</strong> whether there is sufficient differentiation<br />

<strong>of</strong> style between the three movem~2ts, are points<br />

that each listener must decide."<br />

Dorothy Davies in reviewing for L<strong>and</strong>fall noted that<br />

·"Weaknesses there are for sure; moments 6f<br />

uncertainty <strong>and</strong> over-reiteration ••• a groping<br />

<strong>of</strong> harmonic movement in one section <strong>of</strong> the last<br />

movement. Pulse is still the danger point."43<br />

whilst concluding that this "•.• very lovely <strong>music</strong> ll possesses"<br />

beauty<br />

1144<br />

Owen Jensen, writing in the Arts Year Book No.7, concluded his<br />

lengthy appraisal <strong>of</strong> the <strong>music</strong> with:<br />

"<strong>The</strong> originality <strong>and</strong> vitality <strong>of</strong> Douglas Lilburn's<br />

first symphony is in the shapes <strong>of</strong> the various<br />

themes, in the integration <strong>of</strong> these ideas <strong>and</strong> in<br />

the working out <strong>of</strong> the elements <strong>of</strong> the design.<br />

<strong>The</strong> texture <strong>of</strong> the <strong>music</strong> itself contains nothing<br />

that is startlingly new. Key patterns are largely<br />

traditional - there is nothing <strong>of</strong> atonality <strong>and</strong><br />

little that could be defined as polytonality - <strong>and</strong><br />

the harmonies are effective without being abstruse.<br />

<strong>The</strong> orchestration which, except for the solo<br />

passages, consists <strong>of</strong> block contrasts <strong>of</strong> strings,<br />

woodwinds, <strong>and</strong> brass with some effectively<br />

beautiful horn writing <strong>and</strong> the thematic use <strong>of</strong><br />

timpani, is admirably tempered to the pervading<br />

austerity <strong>of</strong> the <strong>music</strong>.<br />

Doug las Lilburn's Symphony No.1, the first symphony<br />

to be written by a <strong>New</strong> Zeal<strong>and</strong>er, is, <strong>and</strong> will be,<br />

<strong>of</strong> historical importance, but it is not enough<br />

that we commend it as a significant contribution<br />

great<br />

41 ibid.<br />

42 L.C.M.S., Important <strong>music</strong>al occasion <strong>New</strong> Zeal<strong>and</strong> symphony premiered.<br />

Unsourced newspaper clipping, copy with author.<br />

43 Dorothy Davies, Douglas Lilburn's 1st symphony. L<strong>and</strong>fall vol.S no.3,<br />

September 1951:231.

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