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

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146 at Victoria University of Wellington. Shortly after this, at the first meeting of the University Council in 1980, he was elected Professor Emeritus. The fact that must impress on reading a biography of Douglas Lilburn is the contiguity of his career with the growth and development of composition in New Zealand. He was the winner of the Percy Grainger Music Prize and three out of four of the Centennial Music Prizes; first winner of the Philip Neill Memorial Prize; the the first composition tutor at the Cambridge Summer Music Schools; the first composer to have 31 a work played by the National Orchestra; the first composer appointed to a university lecturing post on the strength of work previously accomplished as a composer; film and radio as media for incidental composition; 32 Zealand composer to have a work locally recorded; the first composer to exploit the theatre, the first New the pioneer of electronic music in New Zealand, responsible for the establishment of the first electronic music studio; the composer-representative instrumental in the establishment of an APRA Advisory Committee; spokesman for composers during the revision of the New Zealand Copyright Act 1962; the founder of the Wai-te-ata Press Music Editions; the first composer to be awarded an honorary doctorate from a New Zealand University; the first musician to be awarded a personal chair in music at a New Zealand university; the first New Zealand composer to have 33 works included in examinations for Trinity College and UE/UB/Scholar- Ship;34 and, lastly, one of the motivating forces behind the establishment of the Composers Association of New Zealand. In short, there are few significant developments in composition in New Zealand that have not been effected, initiated, or influenced by Douglas Lilburn. The extensive part he played in shaping these developments was far from fortuitous. Not content to lead the way through the example of his music alone, he encouraged and stimulated younger composers (and, indeed, artists practising in other media), through his teachings and his the 31 Song of the Antipodes in 1947. 32 Festival Overture in 1959. 33 Prelude No.3 of Four Preludes for Piano {Grade III), Christma&~iece No.1 for L.B., 1949 (Grade IV), Rondino (Grade V) and Prelude No.2 of Two Preludes (Grade V) from c.1976. All published in Occasional Pieces for Piano (1975 Price Milburn Music). 34 Nine Short Pieces for Piano and Symphony No.3 from c.1977.
147 personal contact. He continually, and often selflessly, fought for the improvement of opportunities for composers in New Zealand, and, above all, he provided, by choosing to remain in New Zealand, an essentially stable yet dynamic reference point in the growth of composition in this country.
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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
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83 some aural tests, and in general
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proved unworkable,17 with the resul
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87 entitled Song of the Antipodes (
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89 "Not in Australia ••• alth
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9 I In 1948 Lilburn continued commu
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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 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: abstract movement of six dancers on
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
Page 195 and 196: 185 Ex.36: Festival Overture, cello
Page 197 and 198: 187 simultaneous use. The motif emp
Page 199 and 200: 189 clarinet at bar 4 (see Ex.46).
Page 201 and 202: 191 shared between groups of instru
Page 203 and 204: 193 the fifty above examples. All i
Page 205 and 206: 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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