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

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7 issue in February of 1976. Naturally enough, there are many articles of interest to composition in New Zealand between the years 1940-70 in this periodical. Where they bear interest on the specific topic under study they will be mentioned below. Of the articles published in journals with an international circulation, most are devoted to giving a general overview of New Zealand composition within a designated time period. include: Such articles CARRITT, Graham. New Zealand composers. The Monthly Musical Record July-August 1951:149-54. HAINSWORTH, Chris. Music in New Zealand - a study in insecurity? Pacific Moana Quarterly vo1.3 no.3, 1977:329-35. JENNINGS, John M. An historical background to New Zealand composition. Studies in Music no.9, 1975:64-9. McLEOD, Jennifer. Music in New Zealand. Asian Pacific Quarterly vol.4 no.2, Autumn 1972:39-53. PAGE, Frederick. 1960-1970. A decade of music composition in New Zealand, Studies in Music no.7, 1973:88-90. PAGE, Frederick. New Zealand composers. Musical Times vol. r 1.1 no.3, 1970:991-2. PLATT, Peter. Challenge and reward in New Zealand. Composer no.19, Spring 1966:84-9. THOMSON, John. lithe Isle is full of noises ll , themes in New Zealand music. New Zealand Quarterly no.5, Autumn 1979:11-15. From such articles, a few general themes on the history of New Zealand composition emerge. Most articles draw a distinction between the music prior to World War II in New Zealand and the music after World War II. The former is usually described as predominantly amateur and centred on choral, vocal, piano and brass band music. The latter is usually described as characterised by a movement towards professionalism and a growth of interest in orchestral and instrumental music. Jennings states in his article in Studies in Music: "Pre-1945, amateurism; post-1945, professionalism. This would seem to be the ,,6 thesis ... Most of the articles also acknowledge Douglas Lilburn as the 'founder' of a modern, New Zealand tradition of composition. As Nearly all point to the fact that Lilburn's music of the 1940s was influenced by 6 John M. Jennings, An historical background to New Zealand composition. Studies in Music no. 9, 1975:67.
8 the sounds of Vaughan Williams and Sibelius, and that in some way (invariably undefined) it captured the ambience of the New Zealand environment. Many of these articles also acknowledge that Lilburn has been the most influential figure on the course of New Zealand composition since 1940. Most of these articles also point to the development of New Zealand composition as progressing in waves of composers, with each new decade bringing the work of new composers to attention. The first 'wave' was Douglas Lilburn in the 1940s. The second 'wave' comprised Lilburn's students from the first Cambridge Music School and included David Farquhar, Edwin Carr, Larry Pruden and Ronald Tremain, all of whom came to public attention in the 1950s. the composers who came to attention in the 1960s. The third 'wave' comprised Frederick Page's article in Studies in Music on this decade of New Zealand composition names a dozen such composers: Jenny McLeod, Anthony Watson, John Rimmer, Gillian Whitehead, Gillian Bibby, Lyell Cresswell, John Cousins, Ian McDonald, Jack Body, Anna Lockwood, Jack Spiers 7 and Ross Harris. Most of the articles suggest that the second 'wave' of New " Zealand composers came under the spell of music by Bartok, Britten, Stravinsky and Copland, whilst the third 'wave' showed cognisance of the music of the serialists and the textural/timbral world of Darmstadt in the 1960s. All of these articles provide useful introductions to the topic of New Zealand composition. Naturally enough, with such a breadth of topic being tackled within the restricted space of an article, few discuss the subject of New Zealand composition in anything more than general terms. None attempt an evaluation or analysis of the music itself written during this period except in broad descriptive terms, or in stylistic comparisons with the work of overseas composers. Jennings's article in Studies in Music provides the most cogent backgrounding of the topic, whilst Page's article in the same journal (despite some factual errors) provides the best overview summary of composition between the years 1950 and 1970. In a similar vein to these backgrounding and summarising 7 Jack Spiers, born in England and educated in Scotland and Germany, is the only non-New Zealander by birth on this list.
Page 1 and 2: THE BEGINNINGS AND DEVELOPMENT OF A
Page 3 and 4: ii ACKNOWLEDGEMENTS The author wish
Page 5 and 6: made access to personal documents a
Page 7 and 8: CON TEN T S VOLUME ONE Abstract Ack
Page 9 and 10: INTRODUCTION
Page 11 and 12: 2 colleagues for the opportunity to
Page 13 and 14: 4 to his compositional activity. As
Page 15: The first of these was Music Ho, th
Page 19 and 20: 10 London. That New Zealand had nO
Page 21 and 22: 12 "He is most likely to be found t
Page 23 and 24: 14 [Broadcasting Corporation of New
Page 25 and 26: 16 of letters by Douglas Lilburn to
Page 27 and 28: 18 writings on these works, also to
Page 29 and 30: 20 study. On a number of occasions
Page 31 and 32: 22 Frederick Page for the volume of
Page 33 and 34: 24 attempted anything more than a s
Page 35 and 36: 26 1 PREAMBLE The society into whic
Page 37 and 38: 28 oratorio (courtesy of Great Brit
Page 39 and 40: 30 (ballads, popular songs, drawing
Page 41 and 42: 32 the four main centres, there was
Page 43 and 44: 34 ••. You know wh,en you talk
Page 45 and 46: 36 Consequently, great emphasis was
Page 47 and 48: 38 Interval 10. Orchestra, "Stray S
Page 49 and 50: 40 Since all things fade Into a sen
Page 51 and 52: 42 It seems unlikely that this deci
Page 53 and 54: 44 currently housed at the Alexande
Page 55 and 56: 46 awarded to Miss Dorothy I. Johns
Page 57 and 58: 48 study with Vaughan Williams. It
Page 59 and 60: 50 3 1937-1940 ROYAL COLLEGE AND CE
Page 61 and 62: 52 the essence of a personality and
Page 63 and 64: 54 subsequently accepted by, the Go
Page 65 and 66: 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
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generated interest in his compositi
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56 Music School, was with trying to
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99 6 1950-1960 WELLINGTON "So I put
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101 feature film related the storie
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103 The next production in which Li
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105 original and the slow movement
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107 An article in the New Zealand L
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seemed; had been lost. Only Sings H
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1 I I Peter Crowe, an ex-pupil of L
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1 13 through the years. Douglas [Li
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players from the National Orchestra
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117 intolerable - to spend one's li
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119 Following approaches from the A
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12 I yield strange and evocative no
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123 12 Lilburn for his composition
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'mecca' for composers, musicians an
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Meanwhile, Lilburn was preparing to
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and met its director, Mr Walter. 12
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The Return was, with great rapidity
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Overture and Landfall in Unknown Se
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135 8 1965-1980 By 1966, Lilburn ha
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137 The main part of these sounds w
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139 for the Wai-te-ata Press Music
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14 I established, that 'Nothing is
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the working area from structural vi
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abstract movement of six dancers on
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147 personal contact. He continuall
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149 1 OVERVIEW "A Romantic in corse
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On the basis of duration, and exclu
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was completed with a .view to a per
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shows little more than that Lilburn
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157 coupled with Lilburn's Symphony
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159 Lilburn's music. If greater emp
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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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