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

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Varied snippets of theme I are recalled throughout section A3
~n conjunction with the new rhythmic guise of the accompanying motif.
Bars 141-6 in the upper woodwind recall-the canonic imitation of section
A2 bars 77-82.
At bar 144, a four-bar single strand link in the first violins
grows out of a recollection of the first theme. This preludes an eightbar
coda based on the altered guise of the opening accompanying motif.
Thus, these last three sections of Symphony No.1 movement II show
a more complex structuring than any other movement so far examined. The
rigid phrase-by-phrase treatment of thematic material has been forsaken
in favour of an amalgam of overlapping phrasal variations, imitative
allusions to snippets of the main themes,and passages of brief motivic
development. The melody line no longer directs the texture; its
hitherto dominatihgrole is challenged by a number of b~ief but significant
counter-motifs. The functional role of key changes and modulations
of tonal centres as evidenced in the Diversions have also disappeared.
In short, up till this point in the discussion, the works
examined have only shown evidence of, with few exceptions, strict
expositional or recapitulative treatment of material. In these last
three sections of Symphony No.1 movement II, it is a developmental
treatment of material that most often motivates the music.
Lar~e-proportioned
Structures: Sonata Form
Thus far, this discussion of Lilburn's forms has examined his
structures beginning with the small-proportioned works, in which the
phrase is the basic building block and the section is a collection of a
succession of these phrases, often ordered as matching pairs of
statements. Key relationships have been seen to be of importance in the
structure of these small-proportioned pieces. Generally such pieces
have shown evidence of a ternary organisation, that is to say, they
divide naturally into three sections, each featuring either contrasting
or similar material.
For works that required a greater length it was seen that Lilburn
merely extended the same principles of design by lengthening the basic
phrasal unit, or by lengthening each individual section, or by increasing
the number of sections. This enabled him to produce medium-proportioned
structures in which the phrase was still the-basic .building block,and
the section still a collection of a succession of these phrases. These
sections invariably comprised similar treatment (either expositional or
recapitulatory) of similar material. Only on rare occasions was a