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

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18<br />

writings on these works, also too numerous to list here but are listed<br />

in the bibliographies <strong>of</strong> this study, are usually brief <strong>and</strong> <strong>of</strong> little<br />

substance. Invariably, as with record sleeve <strong>and</strong> programme notes,<br />

they <strong>of</strong>fer little more than a quick description <strong>of</strong> the work <strong>and</strong> a<br />

summary <strong>of</strong> the circumstances surrounding its composition.<br />

In general, the many reV1ews <strong>of</strong> Lilburn's works contribute little<br />

towards an underst<strong>and</strong>ing <strong>of</strong> the style, content <strong>and</strong> technique <strong>of</strong><br />

construction <strong>of</strong> his <strong>music</strong>. At best, they <strong>of</strong>fer a subjective reaction<br />

supported by a descriptive sketch <strong>of</strong> the overall progression <strong>of</strong> the<br />

work. Where it is a work <strong>of</strong> Lilburn's from the 1940s under consideration,<br />

analogies with the <strong>New</strong> Zeal<strong>and</strong> l<strong>and</strong>scape are frequently drawn.<br />

Occasionally in periodicals, never in daily newspapers as time<br />

<strong>and</strong> space do not permit, reviewers have .delved into a work by Lilburn<br />

in greater detail. Dorothy Davies in L<strong>and</strong>fal1 31 <strong>and</strong> Owen Jensen in<br />

Arts Year Book No.7 32 both attempt to penetrate the surface <strong>of</strong><br />

Symphony No.1; Bruce Mason in L<strong>and</strong>fal1 33 <strong>of</strong>fers a relatively lengthy<br />

look at Symphony No.2; <strong>and</strong> John Steele in L<strong>and</strong>fal1 34 <strong>and</strong> Roger Savage<br />

in <strong>New</strong> Zeal<strong>and</strong> Listener 35 undertake an evaluation <strong>of</strong> the merits <strong>of</strong><br />

Symphony No.3. However, the greater detail in these lengthier reviews<br />

arises solely from a lengthier description being <strong>of</strong>fered. None succeed<br />

in providing critical appraisal <strong>of</strong> the style <strong>and</strong> technique used in the<br />

work. For the most detailed examinations <strong>of</strong> Lilburn's works one has to<br />

look to the pages <strong>of</strong> Canzona. In this periodical, four writers have<br />

taken a close look at various <strong>of</strong> Lilburn's compositions. <strong>The</strong>se articles<br />

comprise:<br />

BIBBY, Gillian. Flowers <strong>of</strong> the sea: Douglas Lilburn's piano<br />

<strong>music</strong>. Canzona vol.2 no.7, March 1981)9-19.<br />

HARRIS, Ross. Douglas Lilburn's "Symphony No.3" (in one movement).<br />

Canzona vol.2 no.5, October 1980:3-7.<br />

31 Dorothy Davies, Douglas Lilburn's 1st symphony. L<strong>and</strong>fall vol.5<br />

no.3, September 1951:230-1.<br />

32 Owen Jensen, Lilburn: "Symphony No. I" in A minor. Arts Year Book<br />

no.7, 1951:153-6.<br />

33 Bruce Mason, Douglas Lilburn's symphonies. L<strong>and</strong>fall vol.8 no.2,<br />

June 1954: 124-7.<br />

34 John Steele, Lilburn's third symphony. L<strong>and</strong>fall vol.16 no.3,<br />

September 1962:292-4.<br />

35 Roger Savage, Lilburn's third. <strong>New</strong> Zeal<strong>and</strong> Listener vo1.47<br />

no.1196, 17 August 1962:7.

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