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

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dissonant chords (combining the tonic and the dominant in G minor).
These chords help mark the close of the exposition section. A four-bar
link in the first violin line joins the exposition section with the
development.
The development section begins with a change of key signature
from two flats to no accidentals. Straightway a development of
characteristics from theme I is heard. In fact, the entire development
section comprises a development only of this theme. It is, 1n the main,
a meditative and melancholy development, that meandersthrough.a series
of distantly related keys.
The recapitulation section begins at bar 241, marked by a return
to the two-flats key signature and a statement of a version of theme I
that has its characteristics amalgamated with those of the fused theme
of bar 62. This statement is announced initially in the: cello line, then
at bar 249, the violins, viola and cello are gathered together for a
unison statement of the fused theme.
Following this, a brief development 1n the manner of Lilburn's
approach to the transition theme in the exposition section is recalled,
which leads to a recalling of the transition theme. At bar 268 the
transition theme is recalled at the original pitch. It is, though, an
altered version of the theme, with the rigid marcato and moto p~petuo
lines softened by the inclusion of slurs and tied notes. The familiar
single 2 bars surround a second version of the transition theme, which
is varied this time by movement in a semiquaver reiteration of each
quaver note and by an abbreviation of the phrase by four bars (bars 276-
8).
Following this, there is an exact repetition of bars 62-91 at bars
280-309. This includes a recapitulation of the fused theme, the passage
recalling the introduction material, and the announcing of theme 2a.
At bars 311-27, a brief development of material from the fused theme, as
heard in bars 65-72, delays the recollection (and a further development)
of theme 2b (bars 328-46). This then is followed bya passage (bars
347-64) that recalls the fused theme as it appeared in the codetta (bars
128-42)~
The coda, which begins at bar 364 is designed in three parts.
The first part (bars 364-75) recalls the beginning of the development
section. The second part (bars 376~97) recalls theme I as it was first
announced, whilst the third and final part recalls the introduction.
The form of Allegro can be tabulated thus: