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

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Ex.6: Theme 4 of Landfall in Unknown Seas movement I, violin I bars 70-85 •.
Like the first section (section A), this section (section B)
does not close immediately upon the conclusion of the announcement of
both themes. Unlike section A, however, section B continues on with
brief phrasal variations on the two four-bar phrases that constituted
theme 4. Four four-bar variations are scored (the variations differ
only slightly from the originals), with the third and fourth variations
showing a marked modulation away from the original Gmajor tonality.
The third, and final, section of this movement begins at bar
102. In that it serves to recall all the themes stated in the first
two sections, and 1n that it introduces no new material, this section
(section C) could be called a recapitulation section. This being the
case, then the structure of the movement, with its dichotomy of
exposition and recapitulation of material, owes allegiance to the
traditional patterning of modified or abridged sonata form.
The recollection of material in section C is, however, randomly
ordered, and punctuated with instances of phrasal variation of the
material. Although no attempt is made to reconstruct the exposition
patterns of sections A and B, the recapitulatory material of section C
proceeds in a stricter succession of phra~e-by-phrase statements, with
the melody at all times clearly dominating the texture. With the
exception of the material comprising the coda, all the phrasal
statements are ordered into blocks of four bars, as the following
tabulation indicates.