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

A two-bar bridge passage (bars 128-9) leads the music into a
brief twenty-four-bar development of this doleful melody.
219
Throughout
this brief 'development' of the theme, the four-bar phrase design begins
to lose its aural definition, blurred by a cross-weaving of motifs
derived from the theme.
The four-bar phrase still, however, forms the
basis of the structure, just as the 'developments' of the theme are
essentially only a succession of phrasal variations.
The characteristics of theme 6 are transformed into those of
t I tU bp t l ) I
theme
,i'
1 through an eight-bar bridge passage (bars 154-61). Specifically,
Q I ,f"l v", c\·.~ n:. ,.-..
the movement of theme 6 merges into the
Tal l' fiTl J J 1 11 I movement of the introduction to theme I.
J"~\'l", b""",
Section A3 begins at bar 162 with a recalling of Fheme I. The
last bar-and-a-half of the theme is altered though, to introduce an
eight-bar passage amalgamating elements of both theme 2 and 3:
Ex.13: Passage amalgamating elements of theme 2 and theme 3 of
Symphony No.2 movement II, bars 165-74.
At bar 174, theme 3 returns in its original state. The four-bar
closing statement to this (bars 178-81) is likewise a repetition, but of
the version of the theme as stated in section A2 (bars 90-3) with some
very minor alterations to the scoring. Bars 182-8 are a replica of bars
94-100 with one insignificant addition (the added oboe trill at bar 182
doubling the flute trill at the octave).
Lilburn here is using what could be called a 'cut-and-paste'
method of construction for rounding off the movement and for recalling
earlier portions. He selects the bars he wishes to repeat and matches
them for compatibility with other bars he wishes to repeat, thus
ensuring that a smooth and unnoticeable join can be effected. He then
perhaps makes some very minor alterations to the scoring at the point of