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

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216 Ex.9: Theme 1 of Symphony No.2 movement II, violin I bars 2-9 .. The progression of the music in the first section of this movement is dominated by a strict succession of such four-bar phrases, as the following schema indicates: Table 7: Structure of Section AI, Symphony No.2 movement II. Bar Nos. 01 02-05 06-09 10-13 14-17 18-21 22-25 26-29 30-33 34-37 37-42 42-43 Introduction figure. 'Opening' statement of theme 1. 'Closing' statement of theme I. 'Opening' statement of theme 2. 'Closing' statement of theme 2. Repeat of 'opening' statement of theme 2 transposed up an octave. Variation of 'closing' statement of theme 2 modulating to the new key. 'Opening'statement of theme 3 in new key. 'Closing' statement of theme 3 modulating music back to the A major tonic. Recollection of 'closing' statement of theme 2 with considerably altered consequent two-bar phrase. Codetta based on rhythmic motifs from theme I. Two-bar link with following section. The material for section B of this movement is organised in a simple ternary de~ign. Two similar pentatonic melodies comprise the section. As with theme 2 from the preceding section, these themes are made up of two, two-bar phrases. As with all the themes from the preceding section their opening ~tatement is following by a matching 'closing' statement, although in the case of these pentatonic tunes no harmonic movement away from the tonic is in evidence. With the exception of a two-bar link between the statement of the first pentatonic melody (theme 4) and the second (theme 5), the progression of music is strictly in blocks of four bars:
217 Table 8: Structure of section B, Symphony No.2 movement II. Bar Nos. 44-47 48-51 52-53 54-57 58-61 62-65 66-69 68-73 Theme 4 'opening' statement. Theme 4 'closing' statement. Link based on repetition of figure from theme 4. Theme 5 'opening' statement. Theme 5 'closing' statement. Theme 4 'opening' statement repeated. Theme 4 'closing' statement merging with codetta. Codetta. Section B is linked with section A2 by an eight-bar bri,dge passage of, initially, quite unrelated materia11 Ex.10: Bridge passage Symphony No.2 movement II, flutes bars 73-7. This unexpected, frolicking bird-song from the flutes adds a gentle touch of humour to the already lively nature of the movement. Lilburn does not allow this diversion to last for long however. The last bars of this bridge passage (from bar 78) are used to prepare the way for the return of material from section A I. The ! 7 ft fJ1l rhythm of these -.........; . . . bars recalls the opening rhythm of theme I. This recollection grows stronger, until out of the final bar of the bridge passage grows a violin I melody that bears unmistakeable resemblance to the opening theme of the movement: Ex.ll: Bridge passage Symphony No.2 movement II, violin I bars 81-4.
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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
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147 personal contact. He continuall
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149 1 OVERVIEW "A Romantic in corse
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On the basis of duration, and exclu
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was completed with a .view to a per
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shows little more than that Lilburn
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157 coupled with Lilburn's Symphony
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159 Lilburn's music. If greater emp
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161 Piano, in particular, is a succ
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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 and 208: 197 Ln examples 7,12,17,18,23,24 an
Page 209 and 210: 199 12. Song of the Antipodes (see
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: 215 un comparison to the five movem
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
Page 259 and 260: 249 Ex.45c: flute I bars 145-52. Ex
Page 261 and 262: Ex.48: Symphony No.2 movement I, cl
Page 263 and 264: 253 Szmrhony No.2, a full recapitul
Page 265 and 266: 255 100-149 Development beginning w
Page 267 and 268: 257 2. The material that forms the
Page 269 and 270: 259 harmonies above a pedal note, o
Page 271 and 272: 261 4 HARMONY IN LILBURN If anyone
Page 273 and 274: 263 chromaticism. This chromaticism
Page 275 and 276: 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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