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

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244<br />

<strong>development</strong> section. It is one <strong>of</strong> Lilburn's few themes stated in the<br />

brass (trumpet I bars 95-100) <strong>and</strong> throughout the thirty bars <strong>of</strong> its<br />

employment it remains essentially a brass motif. Not only is it unusual<br />

that Lilburn stays with one brief idea for such a significant length <strong>of</strong><br />

time but also it is unusual. that he remains with one accompanimental<br />

idea - alternating major chords an augmented fourth apart. <strong>The</strong> choice<br />

<strong>of</strong> this interval is also in itself unusual. Also, he sustains the<br />

<strong>music</strong> at essentially a 6o~te level throughout, with changes in dynamics<br />

limited to the range from mezzo-6o~te<br />

to 6o~~..i.mo.<br />

Lilburn's manner <strong>of</strong> marking the end <strong>of</strong> his exposition sections<br />

<strong>and</strong> the beginning <strong>of</strong>-his <strong>development</strong> sections varies. In Allegro, it will<br />

be remembered that the 'fused' theme returned to form the basis <strong>of</strong> a<br />

codetta which was then strongly cadenced on the tonic <strong>and</strong> followed by a<br />

four-bar single str<strong>and</strong> link in the violin I. In Symphony No.2 movement I,<br />

the idea <strong>of</strong> a single str<strong>and</strong> link is also used (bars 126-9) in the violin<br />

I doubled by the viola. This four-bar passage spans the end <strong>of</strong> this<br />

episodical second subject group with the <strong>development</strong>.<br />

<strong>The</strong> single str<strong>and</strong> link can also be found in the Festival Overture,<br />

where tremol<strong>and</strong>o notes in the viola (strengthened by a double trill in<br />

the flutes) join the second subject with a recollection <strong>of</strong> material from<br />

the introduction that marks the beginning <strong>of</strong> the <strong>development</strong> section.<br />

Iricidentally, another single str<strong>and</strong> link (bars 106-9, violins) joins this<br />

use <strong>of</strong> material from the introduction with the main body <strong>of</strong> the<br />

<strong>development</strong> section.<br />

L ike the Fes t iva 1 Overture, in Symphony No.1 movement I <strong>and</strong><br />

Aotearoa Overture, a recollection <strong>of</strong> material from the introduction,<br />

following on the heels <strong>of</strong> the second subject, marks the beginning <strong>of</strong> the<br />

<strong>development</strong> section.<br />

Development Sections<br />

Lilburn's <strong>development</strong> sections tend to be short in comparison<br />

with his exposition <strong>and</strong> recapitulation sections, as the following<br />

approximate percentage breakdown"<strong>of</strong> durations indicate.

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