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

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This transformed version of the opening accompanying figure takes on
thematic importance in this section, and dominates much of the texture.
At bars 69-70 it is thematically attached to the first bar of theme I
to produce what could be called a 'fused' or 'wedded' theme:
Ex.19: Symphony No.1 movement II, violin I bars 69-72 •
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These wedded themes, as will be seen later, are an important feature of
Lilburn's large-proportioned structures.
A second statement of this wedded theme appears at bar 74 in
the violin I. It is succeeded by a recollection in the flutes of the
original themes at pitch at bar 77. This marks the beginning of a passage
in which the upper woodwind treat this theme in canonic imitation'two
bars apart and at the same pitch. The order of treatment is: flute bars
77-8, oboe bars 79-80, clarinet bars 81-2.
The new guise of the accompanying figure is featured
prominently at bars 84-6 in the strings, and, from bar 87 to 95, is once
again melded with the main theme to form the harmonic background to a
further passage of canonic imitation in the upper woodwind. Rather than
being based on theme I, though, the canonic imitation makes a feature of
the linking phrase of bars 25-7 where a flute passage anticipated
material from theme 2:
Ex.20a: Symphony No.1 movement II, flutes bars 25-8.
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