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

255
100-149 Development beginning with strong statement of introduction
material. Proceeds almost exclusively with development
of first subject group. At the end, brief reference to
the material of the introduction. leads to the recapitulation.
150-173
173-201
201-208
209-216
217-247
Recapitulation at pitch of end of introduction, followed
by recapitulation of first subject group.
Recapitulation of second subject.
Recapitulation of transition theme.
Recapitulation of brass motif recalling and abridging
material from bars 57-71.
Coda based on first subject group and material from
the introduction which forms the basis for the closing
climatic chords.
b) Aotearoa Overture
001-024
025-036
037-050
051-067
068-081
081-095
Slow introduction.
First subject announced.
Transition theme.
Brief development of first subject in conjunction with
material from the introduction.
Second subject announced.
Brief development of second subject.
095-112
112-127
Return of introduction ideas.
Development of first subject antecedent, also material
from introduction.
127-141
141-172
173-178
179-199
199-219
220-244
Recapitulation begins with allusions to first subject
consequent, also to material from introduction.
Second subject restated.
Direct repetition of last three bars of introduction.
Coda begins; repetition of first subject.
Repetition of transition theme.
Allusion to introduction with series of climactic chords.
c) Symphony No.1 (movement I)
001-008
009-034
035-050
050-078
079-115
116-124
124-137
Introduction.
Theme la (bars 9-18 in aeolian mode, bars 18-34 in major).
Theme lb: similar in design to treatment in major of
theme- la.
Transition section in three parts: Bars 50-9 is a link
to recollection of theme la (bars 60-70). Bars 71-8
(striking brass fanfares) link this statement of theme
la with the second subject group.
Theme 2a.
Link.
Theme 2b.