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

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unfolding of the second subject groups. In the Aotearoa Overture,
it comprises a reiterated C in the cello and double bass lines dropping
down to a reiteration of the note B (bars 66-8). In the Festival
Overture, it comprises a phrase in the violins beginning with a
strident trill (doubled by the flutes) projected out of a tutti
~6o~zando chord at bar 65.
As with Lilburn's first subject groups, Lilburn's second subject
groups are of varying constitution and are accorded differing treatment.
In the Festival Overture, the second subject group comprises a single
melody of the lyric-pastoral type that is stated twice (once in the
woodwind bars 72-80, and once slightly varied in the strings bars 85-94).
A brief exploration of some of the theme's characteristics is made in
the five bars. that separate the two statements.
In the Aotearoa Overture, the second subject group compris,es one
main melody of the lyric-pastoral type (stated in the clarinet bars
72-81) preluded by a short heralding motif in the horns (bars 68-72).
Following the statement of the main melody (theme 2b) a brief, mainly
phrasal, exploration and development of its characteristic shape is
undertaken.
The second subject group of Symphony No.1 movement I, is divided
into two parts, with the announcing of two melodies of equal importance
separated from each other by the recurrence of some characteristic
material (bars 116-24) from the first subject group. The first theme of
the second subject-group (theme 2a) is announced in the cello .at bars
79-86. Between bars 86 and 115 its defining properties are extensively
explored. The second theme of this subject group (theme 2b) is
announced at bars 124-8 also in the cello line. Unlike theme 2a it is
not immediately explored; rather, it is briefly restated in varied form
before a recollection of material from the introduction marks the
arrival pf the development section.
But perhaps the most interesting, and certainly the most
striking, of Lilburn's second subject groups is the one belonging to
the first movement of Symphony No.2. It is, paradoxically, one of the
most satisfying passages in Lilburn's works of his first composition
period; yet it contains elements that are uncharacteristic of his
writing. To elaborate: this theme is structured virtually as a selfcontained
episode. It is stated and fully developed within the one·
relatively long section (bars 95-125). It is not recalled in any form
in the recapitula~ion, yet is briefly alluded to towards the end of the