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

168
melody, nor even a main theme for the overture, this example (see Ex.S)
does embody, in a very obvious fashion, most of the characteristics of
this thematic type, particularly as found in the Allegro and Aotearoa
Overture examples (Ex.l, 2).
Ex.S: Festival Overture, violin I bars 7-18.
7 .)
There are the moments of repose (generally on the D-flat)j there are
the sudden changes of dynamic level to mark the moments of motion (which
in the main comprise ornament-like embellishments) and general quietening
of volume to mark the moments of repose; and there is the integral use
of a rest (in bar 15) to help mark the essentially dotted rhythm employed.
Lyric-pastoral themes
The next most prominent thematic type of Lilburn's melodies ~s his
lyric-pastoral style of melodies. With one notable exception (the main
theme of Symphony No.2 movement I)(Ex.6), these are all secondary themes,
and usually stated in the woodwind. These lyric-pastoral melodies are
used as contrasting material for the generally shorter and quickerpulsed
principal string themes.
Lilburn's ordering of melodies for a work seems to follow a pattern
of strong, quicker-pulsed rhythmic themes (usually stated in the strings
and generally of short duration) followed by gentle, slower-pulsed
lyrical themes (usually stated in the woodwind and generally of longer
duration). Orchestral compositions that follow this pattern of thematic
presentation include the Festival and Aotearoa Overtures, Song of the
Antipodes (although the contrasting woodwind theme is of shorter d~ration
and perhaps less lyrical than the principal string melody), Symphony No.2
movements II and IV, and Symphony No.1 move:nents II and, arguably III.
The first movement of Symphony No.1 has its principal theme (short,