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

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Ex.29: Theme 2a of Allegro, violin I bars 82-4.
The second of these (theme 2b), a fanfare-like motif, begins in the
violin II line at bar 98:
Ex.30: Theme 2b of Allegro bars 98-101.
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However, Lilburn's use of this new material is fleeting. Both themes
are only given two full airings and a further brief reference to, before
the music returns to an exploration of material from the first theme.
Even during this exposition of the second subject group, the
texture is not completely cleared of material from the earlier themes.
The best example of this occurs immediately prior to the announcing
of theme 2b, where the characteristic ascending crotchet figure from···
theme 1 is repeated twice t~ form a sequence of three statements. This
sequence has much the same effect as the above-mentioned single t bars
of unison D's in that it acts as· a collection point, highlighting the
announcement of theme 2b.
This same sequence reappears some thirty bars later to mark the
beginning of a codetta to the exposition section. This codetta (bars
128-45) is based in the main on the first bar of the 'fused' theme
first heard at bar 62. Imitative statements of this bar between the
violins and the lower three string lines are followed by a series of