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

108
keeping with the organisation's publicly declared a~m, an average of one
New Zealand work per concert was sustained. However, as only one concert
a year was presented at first, this meant that only a few local works
gained exposure. In reality, also, the 'new' works performed in the
first few years of the organisation's existence amounted to little more
than a sampling of the more conservative and 'approachable' compositions
b
" 36
e~ng wr~tten overseas.
It is difficult to assess the benefits this New Zealand Section of
the International Society for Contemporary Music brought for Lilburn.
Certainly it was responsible for presenting a number of his compositions
over the years. His Sonata for piano was the first New Zealand work the
society presented - in its inaugural ]949 concert - and Elegy for
baritone and piano was presented in 1952. 37
Beyond that, the society's existence would have given Lilburn the
feeling that there were people interested in the modern musical expression
of a New Zealand composer.
Also, through its international affiliation,
the society must have furthered an awareness that new developments in
composition were afoot overseas.
markedly.
By 1952, however, Lilburn's output of compositions had dropped off
This was in part due to the increasing workload at the
University. The intake of students had increased since Lilburn had
joined the full-time staff in 1949, yet there were still only two
lecturers on the staff. Lilburn's teaching commitments were a daunting
twenty- f ~ve ' h ours 0 f I ectures an d' tutor~a I s, 38 an d on top 0 f t h' ~s h e h a d
to allow time for marking and preparation. He was also finding the
twenty-six miles he commuted to university every day from his house in
Paekakariki time-consuming. 39 He finally sold the Paekakariki retreat
and moved, in 1953, into a two-story house at 356 Tinakori Road.
College.
In 1953, David Farquhar joined the staff at Victoria University
This eased Lilburn's workload slightly, but his output did not
increase significantly. The momentum from his Christchurch days, it
36 For further details of the work of Contemporary Music Societies in
New Zealand on behalf of New Zealand composers see Appendix A7.
37 Later performances include Wind Quintet in 1957, Sonatina No.2
for piano in ]962 and a further performance of Wind Quintet in 1966.
38 Scott papers.
39 ibid.