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

the working area from structural vibration with rubber cushioning.
premises were then lined with tinfoil to prevent radio interference from
the outside.
143
Two studios were constructed in these new premises, a larger one
for use by composers and in seminars, and a smaller one for use by
undergraduate students. The larger studio, Studio I, was completely
refurbished with its working potential both simplified and extended with
the design of a 60-by-70 patching matrix allied with a 12-channel mixer.
The smaller studio, Studio 2, inherited the discarded equipment from
Studio I. Provision was made for some intercommunication with the main
studio to enable use of several of the main units. 23
The principal composition of Lilburn's that was realised in the
new premises in 1972 was Three Inscapes:
"It is a hapless matter that electronic music
very early gained general associations of space
travel, of science fiction and strange horrors.
Necessarily, its communicative language is still
formulating by association with other sonic and
visual media, as I'd think the classical Viennese
style was developed in dramatic human forums of
the earlier opera houses, and so is still in
progress towards a time when it may have gained
enough richness of human associations to be
operative as an abstract musical language. There
are few works in the international repertoire, as
yet, that may subsist musically without external
associations. These Inscapes at once enlist
poetic connotations by reason of the borrowed word
of the title. They are a simple enough construction
of three movements, the outer two formally related
while framing a central statement. The colour and
energy of this movement are finally reduced to a
series of drum-taps, leaving imagination open to
what may be discovered from within one musical
tone."24
The
Meanwhile, many of Lilburn's earlier works for traditional instruments
were being published and recorded. Alberts·had published Nine Short
Pieces for Piano in 1969, the University of Otago had published Chaconne
in 1972, and the newly established Price Milburn Music Limited published
both Sonata for violin and piano (1950) and Two Sonatinas for piano
(1946 and 1962) in 1973. The Kiwi label had released recordings of
Aotearoa Overture and Symphony No.3 in 1968, Nine Short Pieces for Piano
23 ibid.
24 ibid.