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

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166 between the transition theme and second subject group in the Allegro. This passage (bars 73-81) is clearly based on the opening bars of the work. Here, the transcription of the motion-repose alternation and the sudden changes of dynamics characteristics from the opening bars, is easily detected in the two violin lines: Ex.lc: Allegro for strings, violin I and II bars 73-81. ~ i=~'~ -:. 7(, J. -12. , I ,,;;? .... F- .... ~: ; -+ ~lL .1:') ~ -- ",H :f: *' - ) ~ OJ t ~ -
167 with less frequency and is less marked by sudden changes of dynamics. What is given more prominence than in the Allegro and Aotearoa extracts is the integral use of rests. The melody is neatly dissected by an interposed rest and it is this abrupt rest that gives the melody its interesting character. (Without it, it would merely be a series of scalic configurations in the A aeolian mode sandwiched between two suspended notes an octave apart). The danger of inserting such a significantly-lengthed rest between the antecedent and the consequent phrase is that a melody can sound like two separate statements. However, because Lilburn so abruptly truncates the antecedent in this case and leads up to the rest with a sudden crescendo, the momentum generated carr~es the phrase over the rest so that this period of silence becomes part of the thematic statement, rather than a punctuation point between phrases. A further example of this thematic type can be found in the opening bars of the fourth movement of Symphony No.2 (see Ex.4). Ex.4: Symphony No.2 movement IV, violin I bars 1-9. Certainly the alternation of motion and repose is apparent, but in a less dramatic manner than in the Alle~ro (Ex.l) and Aotearoa (Ex.2) examples. The abrupt changes of dynamics are also apparent, but are used more in the manner of the crescendo mark in the Symphony No.1 example (Ex.3). That is to say, in both cases where a crescendo mark appears in the Symphony No.2 example (Ex.4) it precedes the sudden interruption of the melodic line by the interpolation of a rest. Like the Aotearoa Overture (Ex.2), moments of quiet (and the use of the diminuendo mark) are reserved for moments of repose. Also, the moments of motion are in the main characterised by ornament-like embellishments, as illustrated in bar 5 of the Symphony No.2 example (Ex.4). Perhaps the most strikingly dramatic use of this thematic type can be found in the Festival Overture in the bars leading up to the announcement of the first theme (bars 7-18). Although not strictly speaking a
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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
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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
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 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: 165 be drawn. Specifically, these a
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
Page 207 and 208: 197 Ln examples 7,12,17,18,23,24 an
Page 209 and 210: 199 12. Song of the Antipodes (see
Page 211 and 212: 201 a theme, and the woodwind and s
Page 213 and 214: 203 first composition period. In re
Page 215 and 216: 205 Section AI (bars 46-54) announc
Page 217 and 218: 207 Ex.la: Diversions movement IV,
Page 219 and 220: 209 bars: SOtlletimes a variation o
Page 221 and 222: 211 Ex.2: Theme 1 of Landfall ~n Un
Page 223 and 224: 213 Ex.6: Theme 4 of Landfall in Un
Page 225 and 226: 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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