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

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harmonies above a pedal note, out of which grows a gently undulating
viola melody. Like its surrounding movements in thework,as the
movement progresses, it brings a transition of mood. However, at the
end of the movement it returns to briefly recalling the slow unfolding
harmonies.
Ordering of movements within a work
Four of the works examined above comprise more than one movement
of music: Landfall in Unknown Seas, Diversions, Sl,lUphony No.1 and
Sl,lUphony No.2. Lilburn orders his movements within these works
according to the traditional criteria of contrasting tempi and varying
'weight' (degree of 'seriousness' of material).
The first point to note about these works is that all the
movements are self-contained. No two movements are linked together
to form a single chain, nor is any material carried over from one
movement into the next. The possible exception to this lies in the
last two movements of Symphony No.2. The third movement of this work is
entitled "Introduction" to the "Finale" of movement IV. However,
although these two movements should be heard as a paired set of movements,
they are not joined, nor do they contain any clear instances of shared
material.
The second point to note is that each of these four works shows
a strict alternation of tempi between movements. Diversions is
ordered in a quick-slow-quick-slow-quick pattern; similarly, Symphony
No.1 is ordered quick-slow-quick. Sl,lUphony No.2 begins with a slow
movement (or rather, medium slow) and is ordered slow-quick-slow-quick.
Landfall in Unknown Seas also follows this pattern.
The third point to note concerns the key relationships between
the various movements in each work. These are designed in much the
same manner as Lilburn's structures: in the main, with a loose
application of traditional_principles. The keys between movements are
related, but not in a close tonic-subdominant-dominantgrouping. Only
Landfall in Unknown Seas does not begin the first movement and end the
last movement in the same key.
In Sl,lUphony No.1, the outer two movements are based on A minor
(or in modal terms, A aeolian), whilst the inner movement begins and
ends with a C-sharp minor tonal centre - certainly not a close key to
A minor, but one which is by no means unrelated to the tonic major of
the outer movements.
In Srmphony No.2, the two outer movements are in C major. The