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

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developmental treatment of material in evidence, and almost no attempt
was made to mix and match contrasting material within a given section.
In Lilburn's larger-proportioned works it is apparent that the
section has become the most important constructional unit. In these
works, the large sectional unit comprises similar treatment of differing
material: the works can be divided into sections of expositional,
developmental and recapitulatory treatment of material.
The phrase is still used, however, as a building block, though
not in such a rigid application. Thematic phrases still direct the music,
but do not completely dominate the texture. The music is no longer
constructed as a strict symmetrical succession of thematic phrases.
Thematic phrases are no longer matched to form pairs of 'opening' and
'closing' statements. Succeeding statements of themes are often
interspersed vdth brief developmental passages in which various characteristic
motifs of the stated theme are explored. With the increased
length comes an increased complexity of structure in which many component
parts are interwoven and interlocked.
However, Lilburn's large-proportioned works still owe allegiance
to traditional forms and conventionally derived structures. The
traditional form most commonly in evidence amongst these largeproportioned
works is that.of sonata form. At least five of his
orchestral and string orchestral works make use of the principles of
this first movement form: Aotearoa Overture, Festival Overture, Allegro
for strings, Symphony No.1 (first movement), and Symphony No.2 (first
movement). It is in these works that the division into sections of
expositional, developmental and recapitulatory treatment of material is
most noticeable.
An examination of one of these works will serve as a good
introduction to a discussion of Lilburn's use of sonata form. Allegro
is an obvious work to begin with, as it has the demarcation lines
between its three main sections of exposition, development and
recapitUlation clearly marked with changes- ofkeysignature.-
Allegro begins strongly with an eight-bar introduction based on
the statement of one of Lilburn '.s motion-repose alternation type themes:
Ex.2S: Introduction theme of Allegro, violin I bars 1-6.