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

This allusion is all the appearance of- theme I that Lilburn
allows in the new section (section A2) ~s
he passes quickly to a
21S
recollection of the 'closing' statement of theme 3 (see bars 30-3) in
the violins at bar 86.
From this bar, the music follows the now
familiar four-bar plus four-bar construction:
Table 9: Structure of section A2, Symphony No.2 movement II.
Bar Nos. 086-DS9 theme 3 'closing' statement varied.
090-093 theme 3 'closing' statement repeated almost exactly.
094-097 theme 2 'opening' statement varied.
098-101 theme 2 'closing' statement varied.
101-105 codetta recalling codetta of section AI.
Section A2 is linked with section C by a six-bar vamp-like
ostinato, which also serves to introduce the accompanying material of
the new section. Up until this point in the movement, all Lilburn's
themes have been bright, breezy and rhythmically busy.
For this second
episode in the rondo form, Lilburn chooses a theme to stand in marked
contrast to the preceding ones.
doleful melody, tinged with touches of schmaltz.
This theme, theme 6, is a mockingly
It is a slow-pulsed melody, spread over sixteen bars in four,
four-bar phrases. It is announced in the cello, bassoon and clarinet
lines in unison, and takes as its key the contrasting tonality of B-flat
major. The theme itself is purely pentatonic:
Ex.12:
Theme 6 of Symphony No.2 movement II, cello (and bassoon and
clarinet) bars 112-26.
- ?
= f:: ,.,. -7
tMc r I WTt fir Fir Avec
:: -r ;::::::=:- rr