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

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Some themes are even briefly developed before the completion of the
subject-group. Nor even is there consistency of key centre relationship
between introduction and first subject group. In only two of the
examined works (Allegro and Symphony No.) movement I) is the key of the
intr~duction the same as the first subject. The concurrence of key ~n
these cases could well be due to the fact that the introductions of
these works are short.
If the first subject groups vary in shape, length, and constitution,
then so too does the material that bridges the first subject groups
with the second subject groups. The length of these bridging sections
varies from comprising about 45% of the length of the exposition section
(this figure includes the introduction material) as in Festival Overture,
to as low as 20% as in Symphony No.1 movement I. In all cases, though,
the material for this bridging section comprises at least two differing
component parts, with one of these being an instance of the abovediscussed
thematic weddings between the introduction material and the
first subject. With the exception of Symphony No.1 movement I, all the
works possess a clearly recognisable transition theme that is later
recalled in the recapitulation section.
In the first movement of both of the symphonies, special link
passages are scored to mark the end of the bridging sections. In
Symphony No.1 this comprises a most striking and powerful brass passage
(bars 71-8) that surprisingly is never used again. In Symphony No .2, this
comprises a distinctive 'horn-like' motif in the woodwind and horn lines
that is repeated sequentially (bars 87-90).
Ex.40: Symphony No.2 movement I, flutes (woodwind) bars 87-91.
With respect to its sequential repetition of a distinctive motif, this
passage recalls the similar use of such a technique earlier on in this
work (bars 54-6) and in Allegro (bars 95-7 and 125-7).