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

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In the Festival Overture, in addition to a transition theme and
a passage based on a thematic wedding of the introduction and first
subject-group, the bridging section contains a distinctive motif in the
brass (as quoted above, see Ex.38). This motif appears at the beginning,
and towards the end of the bridging section.
Before continuing on to an examination of Lilburn's structuring
of second subject groups, a word of caution is necessary. Perhaps
implicit in the above discussion is the notion that Lilburn.' s structuring
of these large-proportioned works is neatly sectional. This is certainly
not the case, for the existence of clear-cut divisions between the various
portions of a composition are the exception and not the rule. To fix
demarcation lines at any precise point is often a matter for wellconsidered,
but-nevertheless subjective, guesswork. Hence, many of the
specific bar numbers used in this discussion to denote the beginnings and
ends of various subsections in Lilburn's compositions are open to dispute.
Likewise, the labelling of themes as la or Ib or transition or introductory
is also debatable. Such labels are used, as indeed specific bar
numbers are pinpointed, as a matter of convenience to help facilitate an
understanding of the general shape and design of Lilburn's framework.
They should not be construed as evidence of a rigid compartmentalising
of material, as in the manner of Lilburn's small~proportioned works.
Certainly though, there are some places in this music where
divisions between sections are clearly marked. These include places
where a clearly defined cadence is heard (such as at the end of the
introductions to Aotearoa Overture and Festival Overture), or where
a significant tutti rest separates differing material (such as at the end
of the introduction to Symphony No.2 movement I). To this could be added
the above-mentioned divisive signpost of a sequential repetition of a
distinctive motif (as evidenced in Allearo and to a lesser extent already
noted as present in Symphony No~2), as well as what could be called a
'single strand link " spanning· the gap between sections-of .contrasting .
material or contrasting treatment of material (as was also found in
Allegro between the exposition and development sections). Generally
though, sections of differing material or differing treatment of similar
material are dovetailed and interlocked with each other.
This idea of a 'single strand link' spanning the gap between
sections (first noted in the discussion of Symphony No.1 movement II)
can also be found in both the Aotearoa Overture and, more markedly, the
Festival Overture, between the sections of bridging material and the