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

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· 198 6. Symphony No.2 movement I (see Ex.43) 7. Symphony No.1 movement II (see Ex.14) c) Horizontal/flat contours. 8. Symphony No.1 movement I (see Ex.29) v- v- -v 9. Symphony No.2 movement I (see Ex.6) 10. Diversions movement III (see Ex.28) 11. Landfall in Unknown Seas movement IV (see Ex.50)
199 12. Song of the Antipodes (see Ex.IO) '-.... _--- 13. Suite for Orchestra movement IV (see Ex.26) The reason for Lilburn managing to achieve interesting contours within a limited compass range and with a limited choice of intervals, is that most of .his melodies seem to either begin or end at either the highest or lowest pitch. Out of the above fifty examples, no less than forty begin or end at the extremes of the compass range. Ten of these forty both begin and end at the extremes of the compass range. Table 5: Incidence of beginning or ending melodies on extremes of compass range. 2 Begins on highest note Ends on highest note Begins on lowest note Ends on lowest note .. Begins and ends on lowest note Begins and ends on highest note Begins on lowest note, ends on higqest Begins on highest note, ends on lowest note note 3 I \0 16* 3 1+ 0 6 However, the aural effect of this use of pitch extremes to announce 2. *This figure is perhaps artificially high due to the arbitrariness of the endings of some of the examples~ The two 'springboard' melodies (Ex.32 and 33), for example, were left in mid-statement on their lowest notes. However, had the Allegro·theme (Ex.32) been continued . to its logical conclusion it would have been shown to end on its highest note. + This theme was the two-note theme (Ex.46) of Symphony No.2 movement III. Its contour, needless to point out, is horizontal and flat in the extreme, and whichever way the two notes were ordered it had to begin and end on an extreme. However, by the same token, the threenote "Maori-chant" motif of Suite for Orchestra movement II (Ex.30) is scored to begin and remain on its highest note for most of its duration before dipping down to make use of its lower two notes. These, and other minor discrepancies, however, do not affect the validity of the generalisation that Lilburn seems to favour beginning or ending his melodies on extremes of the compass range.
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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
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players from the National Orchestra
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117 intolerable - to spend one's li
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119 Following approaches from the A
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12 I yield strange and evocative no
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123 12 Lilburn for his composition
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'mecca' for composers, musicians an
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Meanwhile, Lilburn was preparing to
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and met its director, Mr Walter. 12
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The Return was, with great rapidity
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Overture and Landfall in Unknown Se
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135 8 1965-1980 By 1966, Lilburn ha
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137 The main part of these sounds w
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139 for the Wai-te-ata Press Music
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14 I established, that 'Nothing is
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the working area from structural vi
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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 and 176: 165 be drawn. Specifically, these a
Page 177 and 178: 167 with less frequency and is less
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: 197 Ln examples 7,12,17,18,23,24 an
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
Page 227 and 228: 217 Table 8: Structure of section B
Page 229 and 230: A two-bar bridge passage (bars 128-
Page 231 and 232: 221 This first statement of theme 1
Page 233 and 234: 223 This transformed version of the
Page 235 and 236: 225 But this brief period of motivi
Page 237 and 238: 227 developmental treatment of mate
Page 239 and 240: A second, and this time tutti, stat
Page 241 and 242: 231 dissonant chords (combining the
Page 243 and 244: 233 lines between the three section
Page 245 and 246: 235 Ex.3Ib: Symphony No.1 movement
Page 247 and 248: 237 However, this is more an exampl
Page 249 and 250: 239 melodic cue from the tailpiece
Page 251 and 252: 241 Some themes are even briefly de
Page 253 and 254: 243 unfolding of the second subject
Page 255 and 256: 245 Table 14: Relative durations of
Page 257 and 258: 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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The beginnings and development of a New Zealand music: The life ...

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