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

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Lilburn's music. If greater emphasis is placed on the discussion of
Aotearoa Overture, Allegro and S~phony No.2 it is because these three
works, in particular, contain the essence of Lilburn's characteristic
manner of expression.
Following the definition of the style of Lilburn's music, as
embodied in his orchestral and string orchestral works of his first period
of writing, discussion will turn to Lilburn's chamber music and music for
solo instruments. This discussion will take the form of a chronological
examination of a sample of chamber works from his first period of
composition, beginning with Phantasy for String Quartet. This work
provides an example of Lilburn's chamber writing at the time of the
composition of Festival Overture and Aotearoa Overture. Following this,
discussion will be limited to a representative sample of Lilburn's chamber
works. Such works, all of which have been commercially released on record,
comprise String Trio (1945), String Quartet in E minor (1946), Sonatina for
Clarinet and Piano (1948), Sonata for violin and piano (1950) and ~ for
two violins (1954). Also included will be Lilburn's two widely performed
song cycles Elegy for baritone and piano (1951) and Sings Harry (1953).
Discussion of these eight 'chamber works' will focus on confirming
the findings about Lilburn's compositional style (from the chapters on
Lilburn's first period orchestral music). An examination of Lilburn's
adapt ion of this style to suit the smaller forces used in this medium
will also be undertaken. A closer look will be given at the feeling of
restlessness that appears in Lilburn's style ~n the early 1950s,
preparatory to the beginning of his second period of composition.
To complete the profile on Lilburn's music of his first
composition period, an examination of a sample of Lilburn's piano writing
will be undertaken. This sample will comprise Four Preludes for Piano
(1942-4), Sonatina No.1 (1946), Chaconne (1946) and Sonata for piano
(1949). As with the chamber music, discussion will, in chronological
order, focus on confirming the findings on style from earlier chapters.
As well, it will outline the idiosyncratic mannerisms of Li1burn's-writing
for the piano medium.
Lilburn's second period of writing, lasting ten years from 1956,
was both the shortest and the least prolific of his three compositional
periods. Only some fifteen separately titled works were produced 1n this
period, of which almost one-half were scores of either incidental or
occasional music. This period began with an exploration, and continued
with an assimilation, of the new techniques Lilburn discovered in use
overseas during his sabbatical leave of 1955-6. Beginning with A Birthday