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

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Table 13: Structure of Allegro for strings.
001-008
009-031
032-045
046-061
062-082
082-097
098-127
128-145
145-148
Introduction.
Theme 1 announced.
Brief development of theme lout of which the transition
theme evolves.
Transition theme announced.
Passage fusing elements from both theme 1 and the
introduction. A fused version of the two themes is
heard at bars 62-73. This is followed by variation
of the introduction theme at bars 74-82.
Theme 2a.
Theme 2b.
Codetta based on fused theme.
Four-bar link with development section.
149-240
Development section based in the main on material
from theme 1.
241-258
259-267
268-279
280-299
300-310
311-327
328-346
347-364
364-375
376-397
398-412
Recapitulation section begins with recalling of the
fused theme as it appeared from bar 62.
Brief development of theme 1 as taken from bars 32-45.
Transition theme recapitulated in abbreviated form.
Recapitulation of passage fusing elements from both
theme 1 and the introduction as first heard at bars 62-82.
Theme 2a recapitulated.
Fused theme briefly developed as heard first at bars 65-72.
Theme 2b recalled and developed.
Recollection of material from the fused theme as it appeared
in the codetta to the exposition section.
Three-part coda begins with recollection of material from
development section.
Original version of theme 1 recalled.
Material from introduction recalled.
As can be seen from the above, the principles of sonata form
provide the controlling factors behind the structure of Allegro. It is
certainly a work of far greater proportions than any of the works or
movements previously examined; however, certain similarities of design
are in evidence. These are worth noting if only to illustrate that the
structures of Lilburn's larger works are not entirely dissimilar to the
,
structures of his small-proportioned works.
Firstly, like the Allegro, a number of the movements in
Diversions possess a short introductory phrase which later recurs.
Unlike the Allegro, though, these introductory phrases are not integrated
into the work as separate entities. They are usually attached to the
beginnings of recollections of the first themes.
Secondly, the Allegro shows a structural use of key relationships:
the second subject group, for exampl~ is stated in a contrasting
key to the first subject and the transition theme, and the demarcation