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

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Table 14: Relative durations of structural sections.
Intro. Expo. Devp. Recap. Coda.
Festival Overture 7% 34% 20% 27% 12%
Aotearoa Overture * 18% 26% 12% 19% 25%
Alle~ro 2% 34% 22% 30% 12%
Sym2hon~ No.1 movement I 3% 38% 10% 38% I 1%
S~phonl No.2 movement I 8% 44% 19% 14% 15%
(* weighted in favour of exposition section because of the twenty-four
bar introduction at half the speed of the succeeding Alleg~o).
As pointed out above, three of the five examined works begin their
development sections with strong reference to material from the introduction.
Apar·t from this, the material explored in the .development
sections is almost invariably confined to that of first subject groups.
Little attempt is made to explore the second subject groups (with the
exception of the brief allusion in S~hony No.2 already noted above).
Perhaps the reason for the short durations of Lilburn's
development sections, and for his restricting the development of material
to usually one principal theme, lies with the fact that both his
exposition and recapitulation sections contain instances of thematic
development. If these developmental pockets were to be included, then
the balance between expositional, developmental and recapitulatory
treatment of themes would appear more equally balanced. Also, his
use of the first subject group material for developmental purposes would
appear less exclusive.
One of the most noticeable features of Lilburn's development
sections is that they are usually characterised by an exploration of keys
distantly related to the tonic key of the main theme. These keys, though,
are usually touched upon only briefly. As is perhaps to be expected,
modulations are frequent and often marked. This results in his development
sections sounding as if they are meandering through tonal centres.
Take, for example, the beginning of the development section in
Allegro. Most of the preceding exposition section was contained within
the key of G minor (with the exception of a brief flirtation outside
this tonality during the second subject group). The first note of the
development - a C-sharp (bar 149) - shows that a modulation has occurred.
The new key centre reveals itself to beA major, or rather, A mixolydian
over the following two bars. In the middle of bar 152 the viola
articulates a B-flat at the same time as a pedal E-natural is sounded in