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

More documents

Recommendations

Info

252 than in the original: Ex.49: ~~phony No.2 movement I, trumpets I and II bars 215-9. In the ~.lesro one needs to wait as late as one-third of the way through the coda to hear the antecedent of theme I as it appeared originally: Ex.50: ~lesro, viola bars 376-80. Theme la of S,vnphony No.1 movement I, is recalled in a manner that is more ulotivic than melodic, and is drawn from the second (particularly bars 13-15) phrasal statement of the theme, rather than the first. Its guise in the recapitulation is one of little bursts of the distinctive f9Fi 1 motif in the trumpets (imitated in other instruments), moving towards a. recollection of the undulating scalic idea: Ex.51: ~mphony No.1 movement I, trumpets bars 195-202. In Aotearoa Overture, the recapitulation section begins with allusions to the consequent of theme I, blended with characteristics from the introduction section. Unlike Allegro, Symphony No.1 and
253 Szmrhony No.2, a full recapitulation of the principal theme in the Aotearoa Overture does occur. However, its reappearance in its original guise is delayed until bar 179 where it marks the beginning of the coda. Its appearance here is an example of the cut-and-paste method of reconstruction - as already noted, a design feature of many of Lilburn's recapitulation sections. This method of construction involves the culling of a particular passage from the exposition section (often with disregard for phrase beginnings and endings) and its transplanting into a different contextual environment in the recapitulation section. Along with the selection of theme 1, in this instance, the last three bars of the introduction section are included. Bars 22-31 then, are transplanted to bars 173-85. Ten bars later in this work, further evidence of a cut-and-paste construction can be found with the transplanting of bars 195-8,culled from bars 51-4. The Festival Overture is the only one of the five works examined that shows the recapitulation section beginning with a restatement of theme I. It appears here, arguably, as a further example of a cut-andpaste method of construction in that the last half dozen bars of the introduction have been transplanted along with most of the first subject group (bars 11-26 become bars 150-64). However, the transplanting here is not exact, although the differences between the two extracts are minimal: an abbreviation of bars 11 and 12, a slight rescoring (that in the main merely thickens the texture through doubling), some instances of octave displacement within the melodic line, and a brief use of reiterated semiquavers to adorn what was previously straight quavers. Clearer, less debatable examples of this cut-and-paste method of recapitulation can be found in Symphony No.1 movement I where bars 185-94 are an exact repetition of bars 40-9; and in Allegro where bars 279-309 are an exact repetition of bars 61-91. The reason Lilburn makes frequent use of this cut-and-paste method of construction is a matter for conjecture. It could be safely assumed' that the instances of this in the Aotearoa Overture were due to his need to meet an impending dealine. Time could be saved by recopying rather than rescoring his recapitulations. Perhaps, because the cut-and-paste method worked in the Aotearoa Overture with the joins in the main being unnoticeable, Lilburn felt that time could also be saved in the composition of Allegro and Symphony No.1; or perhaps in these works he wanted the material in the transplanted passages to be highlighted through an exact repetition. The latter possibility, though, seems unlikely, as it is relatively minor material that is transplanted. Nevertheless,
Page 1 and 2:
THE BEGINNINGS AND DEVELOPMENT OF A
Page 3 and 4:
ii ACKNOWLEDGEMENTS The author wish
Page 5 and 6:
made access to personal documents a
Page 7 and 8:
CON TEN T S VOLUME ONE Abstract Ack
Page 9 and 10:
INTRODUCTION
Page 11 and 12:
2 colleagues for the opportunity to
Page 13 and 14:
4 to his compositional activity. As
Page 15 and 16:
The first of these was Music Ho, th
Page 17 and 18:
8 the sounds of Vaughan Williams an
Page 19 and 20:
10 London. That New Zealand had nO
Page 21 and 22:
12 "He is most likely to be found t
Page 23 and 24:
14 [Broadcasting Corporation of New
Page 25 and 26:
16 of letters by Douglas Lilburn to
Page 27 and 28:
18 writings on these works, also to
Page 29 and 30:
20 study. On a number of occasions
Page 31 and 32:
22 Frederick Page for the volume of
Page 33 and 34:
24 attempted anything more than a s
Page 35 and 36:
26 1 PREAMBLE The society into whic
Page 37 and 38:
28 oratorio (courtesy of Great Brit
Page 39 and 40:
30 (ballads, popular songs, drawing
Page 41 and 42:
32 the four main centres, there was
Page 43 and 44:
34 ••. You know wh,en you talk
Page 45 and 46:
36 Consequently, great emphasis was
Page 47 and 48:
38 Interval 10. Orchestra, "Stray S
Page 49 and 50:
40 Since all things fade Into a sen
Page 51 and 52:
42 It seems unlikely that this deci
Page 53 and 54:
44 currently housed at the Alexande
Page 55 and 56:
46 awarded to Miss Dorothy I. Johns
Page 57 and 58:
48 study with Vaughan Williams. It
Page 59 and 60:
50 3 1937-1940 ROYAL COLLEGE AND CE
Page 61 and 62:
52 the essence of a personality and
Page 63 and 64:
54 subsequently accepted by, the Go
Page 65 and 66:
56 featuring entertainment from a w
Page 67 and 68:
(57) 7. Two Pianos and Orchestra. E
Page 69 and 70:
59 Of the Drysdale Overture, Mr Try
Page 71 and 72:
61 cannot be over-rated: for the fi
Page 73 and 74:
63 4 1941-1945 WELLINGTON TO ~HRIST
Page 75 and 76:
65 house under the guidance of Deni
Page 77 and 78:
67 the dress-rehearsal on the Sunda
Page 79 and 80:
69 Nunc Dimittis,24 Five Bagatelles
Page 81 and 82:
71 On 29 September J943, the first
Page 83 and 84:
73 for violin and piano, the Sonata
Page 85 and 86:
75 No.less deserving of praise were
Page 87 and 88:
77 Correspondence on the subject wa
Page 89 and 90:
79 Inglis Gundry recalled an incide
Page 91 and 92:
81 But I think too, that an occasio
Page 93 and 94:
83 some aural tests, and in general
Page 95 and 96:
proved unworkable,17 with the resul
Page 97 and 98:
87 entitled Song of the Antipodes (
Page 99 and 100:
89 "Not in Australia ••• alth
Page 101 and 102:
9 I In 1948 Lilburn continued commu
Page 103 and 104:
93 to New Zealand music. The immedi
Page 105 and 106:
generated interest in his compositi
Page 107 and 108:
56 Music School, was with trying to
Page 109 and 110:
99 6 1950-1960 WELLINGTON "So I put
Page 111 and 112:
101 feature film related the storie
Page 113 and 114:
103 The next production in which Li
Page 115 and 116:
105 original and the slow movement
Page 117 and 118:
107 An article in the New Zealand L
Page 119 and 120:
seemed; had been lost. Only Sings H
Page 121 and 122:
1 I I Peter Crowe, an ex-pupil of L
Page 123 and 124:
1 13 through the years. Douglas [Li
Page 125 and 126:
players from the National Orchestra
Page 127 and 128:
117 intolerable - to spend one's li
Page 129 and 130:
119 Following approaches from the A
Page 131 and 132:
12 I yield strange and evocative no
Page 133 and 134:
123 12 Lilburn for his composition
Page 135 and 136:
'mecca' for composers, musicians an
Page 137 and 138:
Meanwhile, Lilburn was preparing to
Page 139 and 140:
and met its director, Mr Walter. 12
Page 141 and 142:
The Return was, with great rapidity
Page 143 and 144:
Overture and Landfall in Unknown Se
Page 145 and 146:
135 8 1965-1980 By 1966, Lilburn ha
Page 147 and 148:
137 The main part of these sounds w
Page 149 and 150:
139 for the Wai-te-ata Press Music
Page 151 and 152:
14 I established, that 'Nothing is
Page 153 and 154:
the working area from structural vi
Page 155 and 156:
abstract movement of six dancers on
Page 157 and 158:
147 personal contact. He continuall
Page 159 and 160:
149 1 OVERVIEW "A Romantic in corse
Page 161 and 162:
On the basis of duration, and exclu
Page 163 and 164:
was completed with a .view to a per
Page 165 and 166:
shows little more than that Lilburn
Page 167 and 168:
157 coupled with Lilburn's Symphony
Page 169 and 170:
159 Lilburn's music. If greater emp
Page 171 and 172:
161 Piano, in particular, is a succ
Page 173 and 174:
163 2 MELODY IN LILBURN The music o
Page 175 and 176:
165 be drawn. Specifically, these a
Page 177 and 178:
167 with less frequency and is less
Page 179 and 180:
169 rhythmic and announced in the v
Page 181 and 182:
17 I it has a pastoral flavour, alb
Page 183 and 184:
173 Ex.13: Song of the Antipodes, v
Page 185 and 186:
Ex.16: Symphony No.2 movement IV, h
Page 187 and 188:
177 Ex.20: Symphony No.1 movement I
Page 189 and 190:
179 Ex.25: Diversions movement I, v
Page 191 and 192:
181 Ex.28: Diversions movement III,
Page 193 and 194:
183 Ex.3): Suite for Orchestra move
Page 195 and 196:
185 Ex.36: Festival Overture, cello
Page 197 and 198:
187 simultaneous use. The motif emp
Page 199 and 200:
189 clarinet at bar 4 (see Ex.46).
Page 201 and 202:
191 shared between groups of instru
Page 203 and 204:
193 the fifty above examples. All i
Page 205 and 206:
195 3. Landfall in Unknown Seas mov
Page 207 and 208:
197 Ln examples 7,12,17,18,23,24 an
Page 209 and 210:
199 12. Song of the Antipodes (see
Page 211 and 212: 201 a theme, and the woodwind and s
Page 213 and 214: 203 first composition period. In re
Page 215 and 216: 205 Section AI (bars 46-54) announc
Page 217 and 218: 207 Ex.la: Diversions movement IV,
Page 219 and 220: 209 bars: SOtlletimes a variation o
Page 221 and 222: 211 Ex.2: Theme 1 of Landfall ~n Un
Page 223 and 224: 213 Ex.6: Theme 4 of Landfall in Un
Page 225 and 226: 215 un comparison to the five movem
Page 227 and 228: 217 Table 8: Structure of section B
Page 229 and 230: A two-bar bridge passage (bars 128-
Page 231 and 232: 221 This first statement of theme 1
Page 233 and 234: 223 This transformed version of the
Page 235 and 236: 225 But this brief period of motivi
Page 237 and 238: 227 developmental treatment of mate
Page 239 and 240: A second, and this time tutti, stat
Page 241 and 242: 231 dissonant chords (combining the
Page 243 and 244: 233 lines between the three section
Page 245 and 246: 235 Ex.3Ib: Symphony No.1 movement
Page 247 and 248: 237 However, this is more an exampl
Page 249 and 250: 239 melodic cue from the tailpiece
Page 251 and 252: 241 Some themes are even briefly de
Page 253 and 254: 243 unfolding of the second subject
Page 255 and 256: 245 Table 14: Relative durations of
Page 257 and 258: Compare with Ex.4Ib: oboe bars 38-4
Page 259 and 260: 249 Ex.45c: flute I bars 145-52. Ex
Page 261: Ex.48: Symphony No.2 movement I, cl
Page 265 and 266: 255 100-149 Development beginning w
Page 267 and 268: 257 2. The material that forms the
Page 269 and 270: 259 harmonies above a pedal note, o
Page 271 and 272: 261 4 HARMONY IN LILBURN If anyone
Page 273 and 274: 263 chromaticism. This chromaticism
Page 275 and 276: 265 Thus, the above five examples i
Page 277 and 278: 267 Ex.S: Diversions movement II, b
Page 279 and 280: 269 in this extract is echoed in th
Page 281 and 282: 271 Ex.12c: Aotearoa Overture, stri
Page 283 and 284: 273 The only two that do not show e
Page 285 and 286: Ex.14: Festival Overture, bars 230
Page 287 and 288: 277 independence of the bass-line.
Page 289 and 290: 279 Ex.19: Festival Overture, bar 3
Page 291 and 292: 281 preparatory to its move to the
Page 293 and 294: However, most of these F minor stat
Page 295 and 296: 285 heard from bars 10-15 is the no
Page 297 and 298: 287 note is articulated, yet where
Page 299 and 300: 289 Ex.27: Aotearoa Overture, bars
Page 301 and 302: 291 Ex.32: Symphony No.2 movement I
Page 303 and 304: 293 Ex.35: ~~hony No.2 movement It
Page 305 and 306: 295 development sections are marked
Page 307 and 308: movement has begun, the music remai
Page 309 and 310: 299 Where a bass-line does contain
Page 311 and 312: 301 Here, it is the viola, cello an
Page 313 and 314:
303 Ex.5: Aotearoa Overture, rhythm
Page 315 and 316:
305 , I , ~r"'·f ..,... ~..L +" f
Page 317 and 318:
307 Ex.12: Aotearoa Overture, clari
Page 319 and 320:
309 suddenly thrown onto a weak bea
Page 321 and 322:
221 222 224 227 231 233 235 238 239
Page 323 and 324:
The first three of these four examp
Page 325 and 326:
Ex.24: Symphony No.2 movement II, c
Page 327 and 328:
317 listened for to be appreciated.
Page 329 and 330:
319 Several points about this extra
Page 331 and 332:
321 The second movement of this sym
Page 333 and 334:
323 rhythmic whiplash, a veritable
Page 335 and 336:
325 apart from the work of the stri
Page 337 and 338:
327 unison by an instrument of a di
Page 339 and 340:
329 The texture of this passage can
Page 341 and 342:
331 The trumpet also reflects this
Page 343 and 344:
333 With the exception of the octav
Page 345 and 346:
335 Ex.7: Symphony No.2 movement I,
Page 347 and 348:
337 Despite the frequent recurrence
Page 349 and 350:
339 Ex.ll: Alle~ro for strings, bar
Page 351 and 352:
341 one-half of the piece. The viol
Page 353 and 354:
343 10 Th.,. .p :[ Yla. 'fIe. .p Db
Page 355 and 356:
345 In summary, Lilburn's woodwind
Page 357 and 358:
Ex.16: Symphony No.1 movement I bar
Page 359 and 360:
349 the timpani is in the main used
Page 361 and 362:
35) Ex.24: Symphony No.2 movement I
Page 363 and 364:
353 7 INTERLUDE Discussion in the p
Page 365 and 366:
355 quick-slow-quick or slow-quick-
Page 367 and 368:
357 development as a composer did n
Page 369 and 370:
359 after they were brought into cu
show all

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

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?