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

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introductions begin quietly and rise to a climax at the point the first
subject is introduced.
The introduction to the Festival Overture is similar in
nature to (although longer in duration than) the introduction to Allegro.
Both these introductions begin dramatically,using thematic material of
the motion-repose alternation type. Both then allow the tension and
excitement to subside to enable the gentle, undulating first themes to
grow out of the quietening texture from the middle register of the
string sections.
If, as Sir Hubert Parry says, the " ••• main purpose of an
Introduction is either to summon the attention of the audience, or to
lead their minds into the earnest and sober mood which is fittest for
the appreciation of great things",S then Lilburn's introductions belong
to the lat ter-. Because his introductions serve thematic purpose, and
because they comprise more than a few bars of an inconsequential figure
or phrase defining the key and the tempo (as, in fact, is the case in
his Diversions) they exist to function as more than just a "call to
attention". Without exception, the material from all of Lilburn's
'sonata-form' introductions prove to be relate~ to, and/or (more
significantly) are later wedded to, the principal first theme of each
work.
The most obvious relationship of introduction material to
first theme occurs in Symphony No.1 movement I where the declamatory
motif l.n the trumpets that begins the work forms the rhythmic nucleus
of theme 1:
Ex.31a: Symphony No.1 movement I, trumpets bars 2-4.
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5 As in Stewart Macpherson, Form in Music, 2nd ed.,London, Joseph
Williams, n.d. p.16S.