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

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the double bass line. This marks the beginning of a modulation to a
C-based mode that is hinted at in bar 156 and fully established as
C dorian in bar 159. In bar 161 this is chromatically altered to
C mixolydian. The appearance of an F-sharp in bars 162-3 and the use
of an F-sharp pedal in bars 164-6 suggest the use of the locrian mode
based on F-sharp. At bar 169 the tonality returns to C major, only to
be quickly taken in the direction of G major at bars 171-2. An A-flat
in the cello and double bass at bar 173 begi~s a three-bar passage of
bi-modal dissonance that is superceded at bar 176 by a feeling of B-flat.
Apart from a chromatic B-natural in bar 176 this feeling of B-flat
continues through to bar 178 where a strong feeling of D-flat major is
established. This is replaced by a feeling of D dorian at bar 181.
Thus, the pattern of meandering through a variety of distantly related
keys is established. This rapid frequency of modulation is also
established early on as a characteristic in Lilburn's other development
sections.
Another important feature of Lilburn's structuring of his
development sections is that he usually begins the main body of the
development (recollections of the introduction material aside) with a
phrase derived from one of the characteristic motifs of the main theme.
This motivic development of a new phrase initially dominates the texture.
This can be clearly seen in all the works except the Allegro in which
no attempt is made in the initial stages of the development to build a
cogent phrase out of characteristic motifs.
In Symphony No.2 movement I, the developed phrase is derived from
characteristics of theme Ib:
Ex.4Ia: Symphony No.2 movement I, flute bars 131-8.
,
t r. l! r I lL----I.r~ __
. ~ ~ f "-i
fflj.J) n I ED tJ; 'rTPf vrl f f I If t ,..
___ --III y .,. I I '" =-