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

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the woodwind. At the end of the fifth version, Lilburn signposts the
end of the announcement of the second subject through thematic repetition
of one of the characteristic motifs of theme Ib:
Ex.38: Symphony No.2 movement II, flutes (woodwind) bars 53-6.
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This recalls the technique he used in Allegro to highlight the announcing
of both theme _2b and the codetta:
Ex.39: Allegro, violin I bars 94-8.
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In Symphony No.2 movement I, the announcing of the first subject group
is followed immediately by the transition theme in the horns.
The first subject group of Symphony No.1 movement I comprises a
pair of similarly-styled themes. After announcing theme la, in the
aeolian mode based on A, Lilburn briefly explores this theme in an
essentially major modality before moving to a statement of theme lb.
This new theme is also briefly explored, before the beginning of a threepart
transition section marks the completion of the announcement of the
first subject-group.
The first subject-group of the Allegro,_ ~t will beuremembered,
comprised a single subject that was stated and then briefly developed.
It was then succeeded by the transition theme, which evolved out of the
brief development of the first theme.
Thus, Lilburn shapes the material of his first subject-group in a
variety of ways. Some comprise two, usually similarly-styled, themes,
whilst others comprise only one main theme. Some themes are only stated
once, some are stated in several different versions.