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

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134 country of ours, whose character speaks so strongly ~n your music, acts as a powerful stabilizer for many of us; in all our restless travelling we have at the back of our minds that one musician at least has found it not only possible but fit and right to work at home. It is not necessary here to recount how much every musician in the country owes to your many years of patient, detailed work with officials and committees over plans and drafts and conditions, with the N.Z.B.C. and withA.P.R.A. - work in the cause of music and your fellow musicians, to which the present greatly improved conditions of musical life are in large part due; but we do not forget it. We hope that after those years of struggle you will have the reward of seeing a great efflorescence of music in New Zealand. We know you have lost none of the freshness of spirit to enjoy it, and none of your generous interest in the wor~ of other composers. And may you long continue to give us ~ew music of your own as youthful in its vigour and invention as you have led us to expect in the work of your maturity. Glynne Adams Joan Grey Margaret Nielsen Tessa Birnie Ashley Heenan Frederick Page Roderick Biss John Hopkins Ruth Pearl Russell Bond John Hyatt Peter Platt Gwyneth Brown Owen Jensen Larry Pruden Robert Burch Maisie Kilkelly John Ritchie Edwin Carr Alex Lindsay John Steele Gerald Christeller Mary Martin J.M. Thomson Peter Crowe Valmai Moffett Georg Tintner Dorothy Davies Donald Munro Ronald Tremain Vivien Dixon Jean MUnro Michael Wieck Ernest Empson Robin Maconie Joan Wood David Farquhar Jenny McLeod Tom Young Dorothea Franchi Janetta McStay Peter Zwartz". Dorothy Freed Charles Nalden
135 8 1965-1980 By 1966, Lilburn had almost totally turned his back on writing music for traditional instruments. His Nine Short Pieces for Piano, completed in that year, was to be the last significant composition for a conventional medium. electronic medium. Lilburn's interests now lay firmly with the Work on the Electronic Music Studio continued, as equipment ordered from overseas began to arrive - professional Philips tape recorders, Brenell tape decks, an AKG microphone and EMT Reverberation unit. By October 1966, the EMS/VUW (Electronic Music Studio at Victoria University of Wellington) in the basement of the Hunter building, was ready for its official opening. "What was achieved then may now be described as a small 'classical' studio, a pioneering enterprise some years ahead of equivalent work in Australian and English Universities. The basic aims were to provide a research and compositional centre to keep New Zealand abreast with Overseas technological developments, to provide a teaching facility for new courses in the Music Department, to provide a library of tapes of new music and a forum for discussion of it, to keep open house for interested visitors at all levels of music education and, practically, to provide a new sound product·for use within the community by broadcasting, television, film, theatre, ballet, and selected commercial sponsors whose financial recognition contributes to the development of the studios,,,1 Lilburn continued his close association with the New Zealand Broadcasting Corporation Drama Department for a number of years following the opening of this studio, as well as resuming his interest in the theatre. Incidental music written from 1966 includes: for the New Zealand Broadcasting Corporation, The Spiral Tattoo (1966) and Hot Spring (1968) by Adele Schafer, He Tohu 0 Waharoa (1969) by James Ritchie, and The Wide Open Case (1973) by James K. Baxter; and for theatre companies, The Golden Lover (1967) by Douglas Stewart directed by Richard Campion for Douglas Lilburn, Introductory notes in accompanying booklet to KIWI SLD-44/46, p.8.
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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
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61 cannot be over-rated: for the fi
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63 4 1941-1945 WELLINGTON TO ~HRIST
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65 house under the guidance of Deni
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67 the dress-rehearsal on the Sunda
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69 Nunc Dimittis,24 Five Bagatelles
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71 On 29 September J943, the first
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73 for violin and piano, the Sonata
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75 No.less deserving of praise were
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77 Correspondence on the subject wa
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79 Inglis Gundry recalled an incide
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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 and 122: 1 I I Peter Crowe, an ex-pupil of L
Page 123 and 124: 1 13 through the years. Douglas [Li
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: Overture and Landfall in Unknown Se
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
Page 173 and 174: 163 2 MELODY IN LILBURN The music o
Page 175 and 176: 165 be drawn. Specifically, these a
Page 177 and 178: 167 with less frequency and is less
Page 179 and 180: 169 rhythmic and announced in the v
Page 181 and 182: 17 I it has a pastoral flavour, alb
Page 183 and 184: 173 Ex.13: Song of the Antipodes, v
Page 185 and 186: Ex.16: Symphony No.2 movement IV, h
Page 187 and 188: 177 Ex.20: Symphony No.1 movement I
Page 189 and 190: 179 Ex.25: Diversions movement I, v
Page 191 and 192: 181 Ex.28: Diversions movement III,
Page 193 and 194: 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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