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

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connection to produce what invariably amounts to an apposite summary of
the content of the work. This method of construction, or rather
reconstruction, of material is, as will be discussed later, a
distinctive feature of the recapitulation sections of his largerproportioned
works.
The six-bar coda (bars 189-94) to movement II of Symphony No.2
LS based on a tonic A pedal, and stems from the material presented in
the codetta to section A2.
Thus, although far greater Ln length than the short movements
of Diversions, this second movement of Lilburn's second symphony LS
nevertheless constructed on the same principles of design: that of
compounding phrasal units into sections of material.
It is worthwhile briefly discussing one other ex~mple of a mediumproportioned
structure - that of the second movement of Symphony No.1.
The designwork of this movement provides a fitting transition for this
discussion to move on to an examination of Lilburn's large-proportioned
structures. Its form is an interesting mixture of the strict phrasal
succession of the small-proportioned works with the more complex phrasal
evolution of the larger proportioned works.
The movement falls naturally into five sections each of
approximately 30 bars length:
Table 10: Structure of Symphony No.1 movement II.
Bar Nos. 001-027 Al
028-065 BI
065-095 A2
096-129 B2
130-165 A3
Each of these sections features a vary Lng treatment of one of the two
main themes that motivate the movement. Theme 1, which forms the basis
of the A sections, is stated first in the violin I line at bars_6-7:
Ex.14: Theme I of Symphony No.1 movement II, violin I bars 6-7.