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

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are first subjects necessarily recalled in the original key.
14. Most of his recapitulation sections show use of a 'cut-andpaste'
technique of recapitulation.
15. Secondary material (second subject groups, transition themes,
fused themes and introduction themes) is usually recalled once, and
often in a guise closely resembling the original.
16. Lilburn's codas are usually relatively lengthy and often
show evidence of further development of material. None of his codas
function solely as preparation for the final cadence. All exhibit a
summary (albeit a brief and selective one) of material presented in the
exposition section.
The above discussion of Lilburn's use of forms has encompassed
an examination of all but seven of the twenty separate movements to be
found in Festival Overture, Aotearoa Overture, Landfall. in Unknown Seas,
Allegro, Song of the Antipodes, Diversions, Symphony No.1 and Symphony
No.2. For the sake of completeness it is worthwhile touching briefly
on these seven movements.
Three of the movements are to be found in Landfall in Unknown
Seas. Movements II and IV of this work show use of the same principles
of design as were found in the first movement of this work. That is to
say, they are both medium-proportioned movements that display the same
formal design of construction as a strict succession of thematic phrases.
Where they differ from movement I, and movement II in particular
exemplifies this, is that they do not return to clearly restate the
material from the beginning of the movement. The reason for this is
obvious: they are pictorial movements that echo the transitions in
mood, place and time dictated in the poetry. Movement I, being
essentially a prelude to the poetry, is allowed to possess a form
independent of the specific requirements of the text.
Movements III and IV of Symphony No.2 both owe allegiance to the
principles of sonata form, with their tripartite divisions into sections
of exposition, development and recapitulation. The third movement~of
Symphony No.1 also shows use of a structure divisible into three main
sections, but the middle of these three sections, rather than being
developmental, takes the nature 6f a self-contained rondo.
Song of the Antipodes shows evidence of an episodic form in that
the recurrence throughout the work of one main theme is alternated with
contrasting passages, mainly in the woodwind.
Movement III of Landfall in Unknown Seas has an interesting
structure. Nearly all the movement is comprised of a series of unfolding