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

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However, this is more an example of Lilburn's use of an underlying
motif to unify contrasting material, and as such, will be discussed
later.
Symphony No.2 does, though, provide an excellent example of
Lilburn's liking for wedding his first theme with material from the
introduction. It will be remembered that such a wedding occuFred in
the middle of the exposition section of Allegro., where characteristics
from the introductory and first themes were fused (at bar 68) to form
an important additional theme.
The thematic wedding in Symphony No.2 movement I occurs in a
similar structural position to that of Allegro: immediately after the
transition theme where one might (under the traditional sonata-form
patterning) have expected the announcement of the second subject-group
to occur. In 'Symphony No.2 the two separate themes are 'linked together
to form one long melodic statement:
Ex.35a: Introduction theme of Symphony No.2 movement I, viola bars 1-4.
I II!
~++
-.....:--
)JJ 'jJJ
;.,,:.: ;.,:...;-
-' i
Ex.35b: Theme la of Symphony No.2 movement If oboe bars 22-8.
Ex.35c: Linked theme of Symphony No.2 movement I, violin I bars 73-83.