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

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clarinet at bar 4 (see Ex.46). However, despite the simplicity of this
line, it is one of the most satisfying moments in Symphony No.2, with
the repeated sounding·of thenoteE-flat setting up some quite exquisite
dissonance against the D tonal centre of the accompanying lines.
Ex.46: Symphony No.2 movement III, clarinet (as sounding) bars 4-8.
The second subject group in the fourth movement of this symphony
LS headed by another simple melody, this time based on four notes (see
Ex.47). The simple motif that generates this theme LS later employed
extensively to characterise much of the movement's development section.
Ex.47: Symphony No.2 movement IV, oboe bars 97-104.
~O
..Jl~ f 0
! 1 1 \U10j
~~
U I r r r z I
In the second subject of Symphony No.1 movement I (see Ex.48), a
simple arch-contoured melody LS featured. It begins in a similar vein
to the chorale-like thematic group discussed above, but ends with two
characteristics of the motion-repose alternation thematic type - the
ornament-like embellishment and the sudden change of dynamic level.
Ex.48: Symphony No.1 movement I, cello bars 80-6.
-------=-- = r