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

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lines between the three sections coincide with changes of key signature.
In this respect, Allegro differs from other large-proportioned works.
As shall be seen below, the use of key changes and modulations to help
define the application of his sonata-form based structures is the
exception rather than the rule.
Thirdly, the familiar progression of the music as a series of
phrasal blocks is in evidence at the points where themes are announced
(particularly the transition theme and the second subject themes).
Fourthly, the technique of pairing thematic phrases to form
matching opening and closing statements of themes can be found at the
exposition of the first theme of the second subject group.
Lastly, exact repetition of material can be found in the
recapitulation section of Allegro. However, where this occurs, it is
usually an isolated instance, and more an example of a 'cut-and-paste'
recapitulation as found in the medium-proportioned structure of Symphony
~ (movement II), than an example of the more systematic repetitions
to be found in the small-proportioned movements of Diversions.
Although it is of interest that certain similarities of
structuring can be found between Lilburn's large and small proportioned
works it is a,hardly surprising fact that, once noted, need not be
pursued.
What is of more interest, is the degree of conformance of
design in Lilburn's works that show evidence of the use of sonata form.
A comparative examination of these works will show that both the manner
in which he applies the principles of this traditional form, and the
manner in which he departs from use of this traditional form is, in. many
cases, remarkably similar.
Exposition sections
Aotearoa Overture, Festival OVerture, Symphony No.1 (movement I)
and Symphony No.2 (movement I) all, like Allegro, begin with .. an introduct-,.
ion section based on material that is later featured prominently - both
thematically, and Ln the formal design of the work. These introductions
range in length from the short,eight-bar, 'fanfare' introduction of
Symphony No.1 to the slow-pulsed, twenty-four-bar introduction of
Aotearoa Overture, which acts 'almost as a self-contained prelude to the
ensuing Atleg40 of the rest of the overture.
The introduction to Symphony No.2 (movement I) is also very
nearly self-contained, although without the differing tempo that
characterises the introduction to the Aotearoa Overture. Both these