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

222
of the two-bar theme.
blocks of material:
The music, in the main, proceeds 1n two-bar
Table II: Structure of section AI, Symphony No.1 movement II
Bar Nos. 01-03
04-05
06-07
08-09
10-11
12-13
14-15
16-17
18
19-20
21-24
25-27
Introduction.
accompanying figure.
theme 1 statement.
accompanying figure.
theme 1 varied.
theme I extended.
accompanying figure.
theme I slightly varied.
accompanying figure merging with theme I.
theme I slightly varied.
accompanying figure modulating in sequence.
link based on material anticipating theme 2.
Section B 1 basically comprises three statements,of theme 2,
followed by a six-bar codetta that links section BI with section A2.
The few bars that do not feature a statement of theme 2 (these occur in
between the successive statements)are dominated by the accompanying
figure.
Table 12: Structure of section BI, Symphony No.1 movement II
Bar Nos. 28-37
36-40
41-47
48
49-58
59-64
theme 2 stated in clarinet.
dominated by accompanying figure.
theme 2 varied in oboe.
dominated by accompanying figure.
theme 2 varied in violin I.
six-bar codetta/link based on merging of theme
and accompanying figure.
If the first two sections of Symphony No.1 movement II
recall Lilburn's manner of construction in his small-proportioned works,
then the last three sections owe something to his manner of construction
in his large-proportioned works. Straightway in Section A2 the
difference is noticeable. The accompanying figure of section AI (see
Ex.IS) reappears in an altered guise:
Ex.18: Symphony No.1 movement II, horns in F bars 65-7.