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

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melody is in fact based on a synthetic mode; a scale Ln which a lower
tetrachord, exhibiting phrygian characteristics based on G-sharp, is
combined with an upper tetrachord that is major or ionian in mode, based
on G-sharp. As can be seen from example 14, this introductory theme is
closely wedded to the main theme of the movement. The repeated figure
of bars 4 and S is, like the Diversions example (Ex.12), treated to a
homophonic harmonisation - in the viola and cello.
Taken out of context, these chorale-like themes seem bland and
rather trite. They become of interest only when placed in their harmonic
and orchestrational context, two aspects of Lilburn's writing that will
be discussed later. What is worth noting briefly here is the importance
of Lilburn's chorale-like treatment of themes. Scattered throughout
the works of his first compositional period are examples of themes
orchestrated in the manner of a three or four-part chorale theme
harmonisation. The introduction to the Aotearoa Overture provides an
excellent example of a non-chorale-like motif being afforded chorale-like
homophonic treatment (see Ex.IS).
Ex.IS: Aotearoa Overture, strings bars 5-7.
vn:
.. ,...
1""""1
---
-
.. '... ...... -- :-
~
~
1 ..... ~
,
~
n
+ - -
~
1....., c::r1 .,........... ~ ......
.. " ,..j :::=----
.. , ~ ., ,
.
... ,.
::
--
~
'-- .p. . cl.;_
A number of Lilburn's secondary themes also belong to this
chorale-like thematic type. Two horn themes from Symphony No.2 (see
Ex.16 and 17) are good examples of this.