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

Table 6: Structure of Landfall in Unknown Seas movement I bars 102-180.
214
Bar Nos. 102-105
106-109
110-113
114-117
118-121
122-125
126-129
130-133
134-137
138-141
142-145
146-149
150-153
154-157
158-161
162-165
165-180
theme 2 motif x repeated in new key.
theme 2 motif x.
theme 2 motif x repeated in further new key.
theme 2 motif x phrasal variation.
theme 4 exact repeat of antededent phrase.
theme 4 exact repeat of consequent phrase.
theme 4 phrasal variation.
theme 4 exact repeat of consequent phrase.
theme 4 merged with theme 2 motif y.
theme 4 phrasal variation.
theme 4 merging with theme 2 motif y.
theme 2 motif y extended.
theme 3 exact repeat of antecedent phrase.
theme 3 exact repeat of consequent phrase.
theme exact repeat of antecedent phrase.
theme merging with theme 2 motif y.
Coda, proceeding in blocks of two-bar phrases.
Thus, the form of the first movement of Landfall in Unknown Seas
is, to all intents and purposes, an expansion of the small-proportioned
ternary structures commonly found in Diversions.
Section A of Landfall in Unknown Seas movement I is lengthened
(in comparison with the first sections of Diversions) through the use of
a longer, two-phrase first theme, and through the repetition (albeit a
varied repetition) of the statements of the first two themes.
Section B is lengthened with the addition of a sixteen-bar
passage exploring phrasal variations of the section's second theme (theme
4). In both sections, as in Diversions, construction of material
comprises a succession of phrase-by-phrase statements of the themes.
These statements proceed in matched pairs of 'opening' and 'closing'
statements of the thematic phrase, and the thematic material at all times
dominates the texture.
In Diversions, the third section of each movement usually entails
a recollection or direct restatement of material from the first section.
The fact that the third section of Landfall in Unknown Seas recalls and
restates material from both preceding sect ions is perhaps --due to the
lengthier proportions of these sections. A full repetition and
recollection of section A would arguably have over-exposed the material.
By mixing material from both sec'tions Lilburn is able to construct a
third and final section of equal length, thus achieving a structural
balance for the movement. This mixture of material in the final section
clearly points the way to the recapitulation sections of his largerproportioned
works, as will be discussed later.
If greater size to the first movement of Landfall 1n Unknown Seas