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

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112 from which it has nothing. Like the little boy in the nursery story I am clear-sighted enough to see that the liKing has no clothes on at all. "52 Lilburn, obviously, was not going to be allowed to advance his musical style without firm opposition from certain members of the public. A Birthday Offering received two further performances under Robertson, one in Auckland on 6 June 1957, and one in Wellington on 3 September of that year. Following that, as was the established pattern with his symphonic works, the work was shelved. 53 In 1956, the Australasian Performing Right Association 54 (APRA) decided that the increased compositional activity in New Zealand warranted the appointment of a separate committee of the Association to help foster specifically the growth of New Zealand composition. At this time, the number of full writer-members of APRA numbered eighty, and this figure included thirteen New Zealanders. 55 Douglas Lilburn, along with Ashley Heenan, 56 was invited to an APRA convention in Australia in November of that year to discuss the possibilities of setting up this independent committee. What resulted from this convention was a firm proposal for the establishment of such a committee to be known as the APRA Music Advisory Committee in New Zealand. Chaired by the APRA New Zealand manager A.E. Rolfe, the committee comprised a representative of the New Zealand Broadcasting Service, three composers (Lilburn, Heenan and Vernon Griffiths) and a representative of the publishers Charles Begg and Co. Ltd. 57 "Under Bert Rolfe's chairmanship, this committee with brave heart faced the future. Thank God we were ignorant. There were moments when we wondered what it was all about as we slogged 52 L. Assheton Harbord, "A Birthday Offering", Letters from Listeners. New Zealand Listenervol.35 no.905, 16 November 1956:5. 53 The next performance of A Birthday Offering was not until 4 November 1975, when William Southgate conducted the work in a studio rehearsal performance. 54 See Appendix A2 for history of the formation of APRA. 55 New directions in New Zealand music. New Zealand Listener vol.35 no.906, 14 December 1956:26-7. 56 See Appendix B4. 57 New directions in New Zealand music op.cit.
1 13 through the years. Douglas [Lilburn] was the ideas man, and yours truly [Ashley Heenan] translated these into political material for the Board meetings. Looking back at 23 years, the job hasn't beeri too badly done. It is a fair assessment to suggest that 98% of serious NZ music arrived on disc through the financial assistance of firstly, the NZ Advisory Committee, and latterly the APRA Music Committee in NZ."58 The Music Advisory committee in New Zealand was formally established in Wellington in April of 1957 at a New Zealand Composers' Convention organised by APRA. This convention/conference was attended by T.S. Woodbridge, the General Manager of APRA, and New Zealand composers LLewely~ Jones, Larry Pruden, Thomas Gray, Doris Sheppard, Douglas Lilburn, David Sell, Thomas Powell, Vernon Griffiths, David Farquhar and Ashley Heenan. 59 Ashley Heenan describes the early activities of the APRA Music Advisory Committee in New Zealand as being: " ••• directed towards providing financial assistance to composers for the copying and preparation of performing material, and in organising works for broadcast performances. Initial broadcasts produced audience and performer reactions that enabled the committee to formulate a selection process by which it could usefully administer the limited funds available to it. Several composers' competitions were organised in the '50's from which emerged creditable works by David Farquhar and Larry Pruden.60 •••• The advantage of limited available funds was that the committee kept all its ventures under.close scrutiny, seeking to fund those that provided the maximum 61 exposure for the largest number of composers ••• 11 Lilburn's work throughout the years 62 ori the various APRA 58 Ashley Heenan in Pat Bell, Douglas Lilburn and APRA. Douglas Lilburn op.cit. p.60. 59 Composers' Convention. New Zealand Listener vol.36 no.927, .17 May 1957:17. 60 David Farquhar's Partita won the competition announced in 1956 for solo piano. Larry Pruden won the competition announced in 1958 for orchestra with his March:Lambton Qua~. Farquhar was placed second in this competition with hisHarlequ~n Overture. For further details see Appendix AIO. 61 Ashley Heenan, APRA in New Zealand. Canzona vol.3 no.IO, November 1981:62. 62 Lilburn has served intermittently on· theAPRA committee since the establishment of the Music Advisory Committee in New Zealand. It is not possible to verify the actual dates Lilburn served~ as the appropriate records kept by APRA on this matter are unavailable for perusal to date.
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THE BEGINNINGS AND DEVELOPMENT OF A
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ii ACKNOWLEDGEMENTS The author wish
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made access to personal documents a
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CON TEN T S VOLUME ONE Abstract Ack
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INTRODUCTION
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2 colleagues for the opportunity to
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4 to his compositional activity. As
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The first of these was Music Ho, th
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8 the sounds of Vaughan Williams an
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10 London. That New Zealand had nO
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12 "He is most likely to be found t
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14 [Broadcasting Corporation of New
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16 of letters by Douglas Lilburn to
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18 writings on these works, also to
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20 study. On a number of occasions
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22 Frederick Page for the volume of
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24 attempted anything more than a s
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26 1 PREAMBLE The society into whic
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28 oratorio (courtesy of Great Brit
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30 (ballads, popular songs, drawing
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32 the four main centres, there was
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34 ••. You know wh,en you talk
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36 Consequently, great emphasis was
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38 Interval 10. Orchestra, "Stray S
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40 Since all things fade Into a sen
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42 It seems unlikely that this deci
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44 currently housed at the Alexande
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46 awarded to Miss Dorothy I. Johns
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48 study with Vaughan Williams. It
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50 3 1937-1940 ROYAL COLLEGE AND CE
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52 the essence of a personality and
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54 subsequently accepted by, the Go
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56 featuring entertainment from a w
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(57) 7. Two Pianos and Orchestra. E
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59 Of the Drysdale Overture, Mr Try
Page 71 and 72: 61 cannot be over-rated: for the fi
Page 73 and 74: 63 4 1941-1945 WELLINGTON TO ~HRIST
Page 75 and 76: 65 house under the guidance of Deni
Page 77 and 78: 67 the dress-rehearsal on the Sunda
Page 79 and 80: 69 Nunc Dimittis,24 Five Bagatelles
Page 81 and 82: 71 On 29 September J943, the first
Page 83 and 84: 73 for violin and piano, the Sonata
Page 85 and 86: 75 No.less deserving of praise were
Page 87 and 88: 77 Correspondence on the subject wa
Page 89 and 90: 79 Inglis Gundry recalled an incide
Page 91 and 92: 81 But I think too, that an occasio
Page 93 and 94: 83 some aural tests, and in general
Page 95 and 96: proved unworkable,17 with the resul
Page 97 and 98: 87 entitled Song of the Antipodes (
Page 99 and 100: 89 "Not in Australia ••• alth
Page 101 and 102: 9 I In 1948 Lilburn continued commu
Page 103 and 104: 93 to New Zealand music. The immedi
Page 105 and 106: generated interest in his compositi
Page 107 and 108: 56 Music School, was with trying to
Page 109 and 110: 99 6 1950-1960 WELLINGTON "So I put
Page 111 and 112: 101 feature film related the storie
Page 113 and 114: 103 The next production in which Li
Page 115 and 116: 105 original and the slow movement
Page 117 and 118: 107 An article in the New Zealand L
Page 119 and 120: seemed; had been lost. Only Sings H
Page 121: 1 I I Peter Crowe, an ex-pupil of L
Page 125 and 126: players from the National Orchestra
Page 127 and 128: 117 intolerable - to spend one's li
Page 129 and 130: 119 Following approaches from the A
Page 131 and 132: 12 I yield strange and evocative no
Page 133 and 134: 123 12 Lilburn for his composition
Page 135 and 136: 'mecca' for composers, musicians an
Page 137 and 138: Meanwhile, Lilburn was preparing to
Page 139 and 140: and met its director, Mr Walter. 12
Page 141 and 142: The Return was, with great rapidity
Page 143 and 144: Overture and Landfall in Unknown Se
Page 145 and 146: 135 8 1965-1980 By 1966, Lilburn ha
Page 147 and 148: 137 The main part of these sounds w
Page 149 and 150: 139 for the Wai-te-ata Press Music
Page 151 and 152: 14 I established, that 'Nothing is
Page 153 and 154: the working area from structural vi
Page 155 and 156: abstract movement of six dancers on
Page 157 and 158: 147 personal contact. He continuall
Page 159 and 160: 149 1 OVERVIEW "A Romantic in corse
Page 161 and 162: On the basis of duration, and exclu
Page 163 and 164: was completed with a .view to a per
Page 165 and 166: shows little more than that Lilburn
Page 167 and 168: 157 coupled with Lilburn's Symphony
Page 169 and 170: 159 Lilburn's music. If greater emp
Page 171 and 172: 161 Piano, in particular, is a succ
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163 2 MELODY IN LILBURN The music o
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165 be drawn. Specifically, these a
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167 with less frequency and is less
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169 rhythmic and announced in the v
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17 I it has a pastoral flavour, alb
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173 Ex.13: Song of the Antipodes, v
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Ex.16: Symphony No.2 movement IV, h
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177 Ex.20: Symphony No.1 movement I
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179 Ex.25: Diversions movement I, v
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181 Ex.28: Diversions movement III,
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183 Ex.3): Suite for Orchestra move
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185 Ex.36: Festival Overture, cello
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187 simultaneous use. The motif emp
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189 clarinet at bar 4 (see Ex.46).
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191 shared between groups of instru
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193 the fifty above examples. All i
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195 3. Landfall in Unknown Seas mov
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197 Ln examples 7,12,17,18,23,24 an
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199 12. Song of the Antipodes (see
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201 a theme, and the woodwind and s
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203 first composition period. In re
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205 Section AI (bars 46-54) announc
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207 Ex.la: Diversions movement IV,
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209 bars: SOtlletimes a variation o
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211 Ex.2: Theme 1 of Landfall ~n Un
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213 Ex.6: Theme 4 of Landfall in Un
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215 un comparison to the five movem
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217 Table 8: Structure of section B
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A two-bar bridge passage (bars 128-
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221 This first statement of theme 1
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223 This transformed version of the
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225 But this brief period of motivi
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227 developmental treatment of mate
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A second, and this time tutti, stat
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231 dissonant chords (combining the
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233 lines between the three section
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235 Ex.3Ib: Symphony No.1 movement
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237 However, this is more an exampl
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239 melodic cue from the tailpiece
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241 Some themes are even briefly de
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243 unfolding of the second subject
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245 Table 14: Relative durations of
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Compare with Ex.4Ib: oboe bars 38-4
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249 Ex.45c: flute I bars 145-52. Ex
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Ex.48: Symphony No.2 movement I, cl
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253 Szmrhony No.2, a full recapitul
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255 100-149 Development beginning w
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257 2. The material that forms the
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259 harmonies above a pedal note, o
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261 4 HARMONY IN LILBURN If anyone
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263 chromaticism. This chromaticism
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265 Thus, the above five examples i
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267 Ex.S: Diversions movement II, b
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269 in this extract is echoed in th
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271 Ex.12c: Aotearoa Overture, stri
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273 The only two that do not show e
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Ex.14: Festival Overture, bars 230
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277 independence of the bass-line.
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279 Ex.19: Festival Overture, bar 3
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281 preparatory to its move to the
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However, most of these F minor stat
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285 heard from bars 10-15 is the no
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287 note is articulated, yet where
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289 Ex.27: Aotearoa Overture, bars
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291 Ex.32: Symphony No.2 movement I
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293 Ex.35: ~~hony No.2 movement It
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295 development sections are marked
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movement has begun, the music remai
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299 Where a bass-line does contain
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301 Here, it is the viola, cello an
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303 Ex.5: Aotearoa Overture, rhythm
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305 , I , ~r"'·f ..,... ~..L +" f
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307 Ex.12: Aotearoa Overture, clari
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309 suddenly thrown onto a weak bea
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221 222 224 227 231 233 235 238 239
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The first three of these four examp
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Ex.24: Symphony No.2 movement II, c
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317 listened for to be appreciated.
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319 Several points about this extra
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321 The second movement of this sym
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323 rhythmic whiplash, a veritable
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325 apart from the work of the stri
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327 unison by an instrument of a di
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329 The texture of this passage can
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331 The trumpet also reflects this
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333 With the exception of the octav
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335 Ex.7: Symphony No.2 movement I,
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337 Despite the frequent recurrence
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339 Ex.ll: Alle~ro for strings, bar
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341 one-half of the piece. The viol
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343 10 Th.,. .p :[ Yla. 'fIe. .p Db
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345 In summary, Lilburn's woodwind
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Ex.16: Symphony No.1 movement I bar
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349 the timpani is in the main used
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35) Ex.24: Symphony No.2 movement I
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353 7 INTERLUDE Discussion in the p
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355 quick-slow-quick or slow-quick-
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357 development as a composer did n
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359 after they were brought into cu
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