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

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Ex.3Ib: Symphony No.1 movement I, violin II and viola bars 9-13.
'11
1 ",~I .. ....... .... ...
("' .. 1"·,I.,n,,.
.. . . --
, , '+7+7"" ,
r
... .....
u
1- f. ~;!f: ;:~:;t ~tf :B: $' f?;·
....
As an aside, it could be argued that this introduction,with its brief
fanfare in the brass, could be described as one of Sir Hubert Parry's
"call to attention" types. However, as the movement progresses, the
introduction proves to be of some consequence thematical)y, often
existing as an entity separate from the principal theme.
The closeness of the relationship between the main theme and the
introduction theme of the Aotearoa Overture is disguised through the
difference in tempo and in mood. As it appears (unaccompanied) at the
beginning of the work in the flutes, it sounds like one of Lilburn's
lyric-pastoral melodic types; as it appears (accompanied by strings) in
the violins projected out of the climax of the introduction and spiced
with sudden marked changes of dynamics, repetitions, and little rhythmic
embellishments, it sounds like one of Lilburn's dramatic motion-repose
alternation melodic types. However, the notes employed in both cases are
essentially the same, as the following quotations suggest:
Ex.32: Aotearoa Overture, comparison of theme 1 bars 25-34
(violins) with introduction theme bars 1-6(flutes).