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

A second, and this time tutti, statement of the theme is heard
frombar 54 to 60, 'framed' either side by a single ~ bar of tutti
unison D's. One could describe the functions of these single bars of
unison D's as being the straining posts for the melodic strands:
act as collecting points for the tension generated either side by the
moto p~p~tuo type melody.
Although this moto p~p~tuo melody has been labelled the
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transition theme it does not in fact lead directly to the announcing of
the second subject.
Interpolated between the end of this transition
theme and the beginning of the second subject ~s
a twenty-bar passage
(bars 62-81) based on a fusion of the introductory theme (see Ex.2S)
with theme 1 (see Ex.26).
In the opening bars of this passage, the
close relationship between the two themes is clearly revealed:
Ex.28: Allegro, violin I bars 62-7.
Following this, in bars 73 to 81, is the passage that was discussed
towards the beginning of this chapter as an example of the striking
characteristics of a motion-repose alternation type theme recurring to
colour a composition. The relationship of this passage to the
introduction theme was clearly shown.
Thus far in Allegro, four distinct thematic strands have been
unfolded. Ali four bear close relationship to each other yet,
remarkably, sound - at their most similar - like distant cousins.
New material is introduced at bar 82 with the arrival of the
second subject group. Two distinct ideas comprise this group. Both
are short and rhythmic. The first of these (theme 2a) is stated
in the violin I at bar 82: