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

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material for this movement. Apart from a lengthier first theme, there
is little thus far to distinguish this movement from the smallproportioned
movements of Diversions. However, instead of moving into
a contrasting section following the completion of the second thematic
group, Lilburn elects to repeat the first section in its entirety. It
is not an exact repetition though; theme I is stated in the key of E
major rather than the initial G major, and the closing statement of the
theme is altered to effect a modulation back to the original key. This
coincides with the repetition of the second thematic group.
Lilburn then begins his second section at bar 55. This lasts
through until bar 101, and comprises two symmetrically-lengthed themes.
The first of these (theme 3) (Ex.5) is a rather insipid theme that is
quickly overshadowed by the more rhythmically pronounced second theme
of the section (theme 4) (Ex.6). Theme 3 is first staten at bars 55-62
in the first violins. It is matched from bars 63-70 by an even weaker
'closing' statement. However, the weakness of these two statements of
theme 3 is disguised to a certain extent by a counter-phrase in the
viola line (bars 61-5) that anticipates theme 4. This counter-phrase
spans the join between the two statements of theme 3 to provide one of
the few instances in the movement where Lilburn moves to break the
dominance of the strict phrase-by-phrase construction.
Ex.5:
Theme 3 of Landfall in Unknown Seas movement I, violin I and
viola bars 55-70.
,. .fl' +, +.f! -". f D' + .ft' +,
-
--
......
I
...........
• ... '"
i\.II. I:) -e-
.~
D
.
C----
1 "".....r-c.o.1t>
I ~
'-Io..I.J
I
•
It
"l
I
Theme 4 is stated fully for the first time from bar 70.
Like
theme I and 3 it is matched with a 'closing' statement of the theme: