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

256
138-145
146-173
Introduction recalled.
Development of bars 18-34 of first subject group.
174-194
195-207
208-227
227-280
281-301
302-338
Theme Ib recalled.
Theme la recalled.
Recollection and further development of material from
bars 18-34 of first subject group.
Theme 2a recalled and amalgamated with material continued
through from bars 208-27.
Recapitulation and further development of theme 2b.
Coda based on material continued through from bars 281-301
and its exploration of theme 2b alternating with material
from the first subject group.
d) Symphony No.2 (movement I)
001-019
020-038
039-057
058-072
073-086
087-094
095-125
126-129
Introduction.
Theme lao
Theme Ib, stated then briefly developed.
Transition theme in horns.
Introduction theme fused to theme la.
Bridge passage in horns.
Second subject stated and developed.
Link with development section.
130-178 Development of theme Ib (bars 160-1 contain a brief
reminder of theme 2 - the last time it is heard).
178-182
182-197
198-211
211-214
215-223
224-232
233-252
Definite recollection of theme Ib marks beginning of
recapitulation.
Transition theme of bars 58-72 recalled.
Recollection of material from bars 73-86 where the
introduction theme was fused to theme la.
Bridge passage as heard at bars 87-94 abbreviated.
Coda starting with theme la.
Coda continuing with introduction theme recalled.
Final bars where many of the themes are briefly alluded
to: theme Ib, introduction theme, transition theme and
theme la.
Summary
Thus, a significant number of similarities in the application
of, and departure from, the principles of sonata form can be found in
the above-examined works. These similarities can be summarised as
follows:
I. All the works examined begin with an introduction passage
or section based on material that is later prominently featured.