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

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Ex.28: Diversions movement III, violin I bars 9-13.
The first movement of Symphony No.1 also has as its principal
material a theme using this motif extensively (see Ex.29).
Ex.29: Symphony No.1 movement I, violin II bars 9- 14 •
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. .
It is similar to the Diversions example (Ex.28) as well, in that it is
constructed with scalic steps, is modally based, and possesses an
undulating contour. Unlike the Diversions example, however, it is not
a light-hearted theme, belonging more in mood to Lilburn's dramatic set
of themes.
This difference of temperament is difficult to explain, for
both themes have a similar contextual placement (following a 'fanfare'
based on a similar motif from each theme), and both are articulated at a
piano dynamic. In the Diversions example the piano dynamic equates with
playfulness, whereas in the Symphony No.1 example it equates with quiet
intensity. Further difficulty in explaining the difference in moods
arises when considering that the Diversions example is orchestrated
homophonically above an independent bass (a feature more of the sombre
chorale-like themes) whilst the Symphony No.1 example is orchestrated
with imitative interjections from other instruments (a feature of his
dance-like lighter themes).
The difference in mood seems to arise solely
from the fact that the Diversions theme is marked ~taccato whilst the
Symphony No.1 theme is marked maAcato. Possibly the A to E in the double
bass line of the Diversions also lightens the mood, but by the same token,