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

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un comparison to the five movements of Diversions) is achieved through
the lengthening of each section, then greater size is achieved in the
second movement of Symphony No.2 through the addition of extra sections,
as well as through the lengthening of each individual section.
With its five section AI-B-A2-B-A3 structure, the second movement
of Symphony No.2 is clearly written in rondo form. Section AI (bars
1-42) presents three rhythmically inter-related themes (themes 1,2 and
3) which are contrasted through being based on differing modes or scales.
Each theme is four bars in length and is matched with a succeeding
'closing' statement that serves either to bring the melody back to the
tonic, or to assist in modulating the material to a new mode or key.
Theme 2 (see Ex.7) is a possible exception to this pattern in that it
is basically comprised of a two-bar antecedent phrase cadencing on the
dominant, followed by a two-bar consequent phrase cadencing on the tonic:
Ex.7: Theme 2 of S~phony No.2 movement II, oboe bars 9-13.
The 'closing' statement paired with this theme takes the music away
from the tonic, but returns it for the beginning of the succeeding phrase:
Ex.8: Closing statement to theme 2 of Symphony No.2 movement II, oboe
and violin I bars 13-18.
The clearest example of a four-bar theme being matched with a
four-bar 'closing' statement occurs with theme 1: