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

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<strong>The</strong> Return was, with great rapidity, scheduled for commercial<br />

release by Kiwi Records, coupled on an L.P. with Lilburn <strong>and</strong> Campbell's<br />

38<br />

song cycle Elegy. <strong>The</strong> record was released in 1967 <strong>and</strong> <strong>The</strong> Return, in<br />

particular, was greeted with enthusiasm by most commentators.<br />

131<br />

However,<br />

as Lilburn pointed out in his 1967 talk to the Christchurch Society for<br />

Contemporary Music, that:<br />

nAn even younger generation <strong>of</strong> composers<br />

returns from Paris <strong>and</strong> Cologne to say politely<br />

but firmly - What you are doing is regressive.<br />

Regressive is a new word, a U-word, maybe<br />

meaning reliance on tradition. Now I resent 39<br />

being called regressive, but I have to face it."<br />

One such composer was Robin Maconie, who, shortly after returning to <strong>New</strong><br />

Zeal<strong>and</strong> in 1965, launched a vituperative attack on Lilburn's <strong>The</strong> Return<br />

through the pages <strong>of</strong> Third Stream!<br />

"Already Lilburn's Return has been written <strong>of</strong>f<br />

as a masterpiece. Whatever the work's merits,<br />

they are not made any more apparent by the<br />

encomiastic fibrillations <strong>of</strong> local gossips as<br />

they are neither obscured by the studied<br />

silence <strong>of</strong> those better qualified to pass<br />

opinions<br />

As an electronic study, Return is primitive<br />

<strong>and</strong> repetitive,. ,1140<br />

Maconie compared <strong>The</strong> Return with Stockhausen's Gesang der Junglinge <strong>and</strong><br />

concluded that the comparison is "hardly flattering to Lilburn".<br />

Maconie<br />

went on to severely criticise Campbell's text as typifying the fact that<br />

"<strong>New</strong> Zeal<strong>and</strong> poets do not sing", <strong>and</strong> completed the article with the<br />

observation that the work:<br />

" ••• turns out to be avery mechanical nightingale.<br />

Lilburn's recent Poem in Time <strong>of</strong> War 1967, on the<br />

other h<strong>and</strong>, is, though still no masterpiece, an<br />

electronic work <strong>of</strong> substantially more merit; a<br />

happy sign that the composer's own <strong>development</strong><br />

is not being hampered by well.-wishers ,114 1<br />

Surprisingly, Lilburn was stung into replying in the following issue <strong>of</strong><br />

38 Kiwi SLD-13.<br />

39 Douglas Lilburn, Christchurch Society for Contemporary Music address<br />

p. 17.<br />

40 Robin Maconie, A very mechanical nightingale. Third Streamno.3,<br />

May 1968:35-6.<br />

41 ibid.

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