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

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Ex.12g: Landfall in Unknown Seas movement I, bars 74-7, piano reduction. I nil f r r r ----- I , 272 Ex.12h: Landfall in Unknown Seas movement I bars 5-8, piano reduction. 1 J. n 1 -11 r I C1J ~ .... - Ex.12i: Festival Overture bars 14-16, piano reduction. 1 \ I 1 1 ~r p l I I I U I Ex.12j: Symphony No.1 movement II, strings only bars 23-5, piano reduction. These all show use of modal cadences with varying degrees of clarity. Most display an overlapping of chordal progression between the various lines.
273 The only two that do not show evidence of overlapping are the two extracts from Symphony No.2 movement IV (Ex.12d,12e). In these, the arrival at the closing chord of the cadence is simultaneous. These two extracts are variations of the same cadence. In example 12d, the unison movement in bar 174 ascribes the outline of a subdominant chord. In example !2e, the parallel third harmonisation of this equivalent movement suggests a brief touching of the supertonic in the chord immediately before the tonic is sounded. Interestingly, the movement in the bass is from the sixth degree of the scale up to the tonic. This suggests a process of chordal inversion, with a progression undertaken of IVb-(vi 7 - iic)-I. Another cadence that shows a sub-mediant to tonic movement in the bass-line can be found in example 12g, bars 74-7 of Landfall in Unknown Seas movement. I. This could be viewed as a vi7_I cadential progression, if the inner harmonic movement of bar 76 is heard as a cadential embellishment. If this harmonic movement is heard as further overlapping of chordal change between the melody, bass-line and inner harmony, then it could be viewed as some form of plagal cadence: either IVb-I or IVc-I, depending on where one hears the penultimate chord as occurring. In the other extract from Landfall in Unknown Seas (Ex.12h), a similar degree of overlapping between chords occurs at the cadence. The melody line cadences prematurely on the third crotchet be~t of bar 7. Its melodic outline (with the parallel third harmonisation) suggests a plagal cadence. However, the bass-line and inner harmony do not find the tonic until the third crotchet beat of bar 8. The harmonic outline immediately prior to this, coupled with the bass-line stepping down from A to the G tonic, suggests a Vc-I cadential progression. Example 12b from Aotearoa Overture and example 12f from Symphony No.2 movement I both display a similarity of progression. This is essentially a iib-vib-I movement, with the vib chord delaying the sounding.of the tonic. Both the bass-line and melody-line strike notes of the tonic chord at this point, but the inner harmony strikes the sixth above the tonic. A few beats later this sixth is replaced by the fifth, as the tonic chord is finally and fully stated~ In example 12a, from Aotearoa Overture, one can see Lilburn twice anticipating the tonic chord on a weak beat before the cadence comes to rest. The tonic is anticipated by a semiquver prior to the half-bar pulse of bar 133, and at the end of this bar, Lilburn anticipates the sounding of the tonic in root position by scoring the root to sound on the eighth quaver.
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THE BEGINNINGS AND DEVELOPMENT OF A
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ii ACKNOWLEDGEMENTS The author wish
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made access to personal documents a
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CON TEN T S VOLUME ONE Abstract Ack
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INTRODUCTION
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2 colleagues for the opportunity to
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4 to his compositional activity. As
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The first of these was Music Ho, th
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8 the sounds of Vaughan Williams an
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10 London. That New Zealand had nO
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12 "He is most likely to be found t
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14 [Broadcasting Corporation of New
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16 of letters by Douglas Lilburn to
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18 writings on these works, also to
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20 study. On a number of occasions
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22 Frederick Page for the volume of
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24 attempted anything more than a s
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26 1 PREAMBLE The society into whic
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28 oratorio (courtesy of Great Brit
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30 (ballads, popular songs, drawing
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32 the four main centres, there was
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34 ••. You know wh,en you talk
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36 Consequently, great emphasis was
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38 Interval 10. Orchestra, "Stray S
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40 Since all things fade Into a sen
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42 It seems unlikely that this deci
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44 currently housed at the Alexande
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46 awarded to Miss Dorothy I. Johns
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48 study with Vaughan Williams. It
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50 3 1937-1940 ROYAL COLLEGE AND CE
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52 the essence of a personality and
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54 subsequently accepted by, the Go
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56 featuring entertainment from a w
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(57) 7. Two Pianos and Orchestra. E
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59 Of the Drysdale Overture, Mr Try
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61 cannot be over-rated: for the fi
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63 4 1941-1945 WELLINGTON TO ~HRIST
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65 house under the guidance of Deni
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67 the dress-rehearsal on the Sunda
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69 Nunc Dimittis,24 Five Bagatelles
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71 On 29 September J943, the first
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73 for violin and piano, the Sonata
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75 No.less deserving of praise were
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77 Correspondence on the subject wa
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79 Inglis Gundry recalled an incide
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81 But I think too, that an occasio
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83 some aural tests, and in general
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proved unworkable,17 with the resul
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87 entitled Song of the Antipodes (
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89 "Not in Australia ••• alth
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9 I In 1948 Lilburn continued commu
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93 to New Zealand music. The immedi
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generated interest in his compositi
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56 Music School, was with trying to
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99 6 1950-1960 WELLINGTON "So I put
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101 feature film related the storie
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103 The next production in which Li
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105 original and the slow movement
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107 An article in the New Zealand L
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seemed; had been lost. Only Sings H
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1 I I Peter Crowe, an ex-pupil of L
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1 13 through the years. Douglas [Li
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players from the National Orchestra
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117 intolerable - to spend one's li
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119 Following approaches from the A
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12 I yield strange and evocative no
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123 12 Lilburn for his composition
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'mecca' for composers, musicians an
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Meanwhile, Lilburn was preparing to
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and met its director, Mr Walter. 12
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The Return was, with great rapidity
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Overture and Landfall in Unknown Se
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135 8 1965-1980 By 1966, Lilburn ha
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137 The main part of these sounds w
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139 for the Wai-te-ata Press Music
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14 I established, that 'Nothing is
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the working area from structural vi
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abstract movement of six dancers on
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147 personal contact. He continuall
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149 1 OVERVIEW "A Romantic in corse
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On the basis of duration, and exclu
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was completed with a .view to a per
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shows little more than that Lilburn
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157 coupled with Lilburn's Symphony
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159 Lilburn's music. If greater emp
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161 Piano, in particular, is a succ
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163 2 MELODY IN LILBURN The music o
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165 be drawn. Specifically, these a
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167 with less frequency and is less
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169 rhythmic and announced in the v
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17 I it has a pastoral flavour, alb
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173 Ex.13: Song of the Antipodes, v
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Ex.16: Symphony No.2 movement IV, h
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177 Ex.20: Symphony No.1 movement I
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179 Ex.25: Diversions movement I, v
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181 Ex.28: Diversions movement III,
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183 Ex.3): Suite for Orchestra move
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185 Ex.36: Festival Overture, cello
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187 simultaneous use. The motif emp
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189 clarinet at bar 4 (see Ex.46).
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191 shared between groups of instru
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193 the fifty above examples. All i
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195 3. Landfall in Unknown Seas mov
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197 Ln examples 7,12,17,18,23,24 an
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199 12. Song of the Antipodes (see
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201 a theme, and the woodwind and s
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203 first composition period. In re
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205 Section AI (bars 46-54) announc
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207 Ex.la: Diversions movement IV,
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209 bars: SOtlletimes a variation o
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211 Ex.2: Theme 1 of Landfall ~n Un
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213 Ex.6: Theme 4 of Landfall in Un
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215 un comparison to the five movem
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217 Table 8: Structure of section B
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A two-bar bridge passage (bars 128-
Page 231 and 232: 221 This first statement of theme 1
Page 233 and 234: 223 This transformed version of the
Page 235 and 236: 225 But this brief period of motivi
Page 237 and 238: 227 developmental treatment of mate
Page 239 and 240: A second, and this time tutti, stat
Page 241 and 242: 231 dissonant chords (combining the
Page 243 and 244: 233 lines between the three section
Page 245 and 246: 235 Ex.3Ib: Symphony No.1 movement
Page 247 and 248: 237 However, this is more an exampl
Page 249 and 250: 239 melodic cue from the tailpiece
Page 251 and 252: 241 Some themes are even briefly de
Page 253 and 254: 243 unfolding of the second subject
Page 255 and 256: 245 Table 14: Relative durations of
Page 257 and 258: Compare with Ex.4Ib: oboe bars 38-4
Page 259 and 260: 249 Ex.45c: flute I bars 145-52. Ex
Page 261 and 262: Ex.48: Symphony No.2 movement I, cl
Page 263 and 264: 253 Szmrhony No.2, a full recapitul
Page 265 and 266: 255 100-149 Development beginning w
Page 267 and 268: 257 2. The material that forms the
Page 269 and 270: 259 harmonies above a pedal note, o
Page 271 and 272: 261 4 HARMONY IN LILBURN If anyone
Page 273 and 274: 263 chromaticism. This chromaticism
Page 275 and 276: 265 Thus, the above five examples i
Page 277 and 278: 267 Ex.S: Diversions movement II, b
Page 279 and 280: 269 in this extract is echoed in th
Page 281: 271 Ex.12c: Aotearoa Overture, stri
Page 285 and 286: Ex.14: Festival Overture, bars 230
Page 287 and 288: 277 independence of the bass-line.
Page 289 and 290: 279 Ex.19: Festival Overture, bar 3
Page 291 and 292: 281 preparatory to its move to the
Page 293 and 294: However, most of these F minor stat
Page 295 and 296: 285 heard from bars 10-15 is the no
Page 297 and 298: 287 note is articulated, yet where
Page 299 and 300: 289 Ex.27: Aotearoa Overture, bars
Page 301 and 302: 291 Ex.32: Symphony No.2 movement I
Page 303 and 304: 293 Ex.35: ~~hony No.2 movement It
Page 305 and 306: 295 development sections are marked
Page 307 and 308: movement has begun, the music remai
Page 309 and 310: 299 Where a bass-line does contain
Page 311 and 312: 301 Here, it is the viola, cello an
Page 313 and 314: 303 Ex.5: Aotearoa Overture, rhythm
Page 315 and 316: 305 , I , ~r"'·f ..,... ~..L +" f
Page 317 and 318: 307 Ex.12: Aotearoa Overture, clari
Page 319 and 320: 309 suddenly thrown onto a weak bea
Page 321 and 322: 221 222 224 227 231 233 235 238 239
Page 323 and 324: The first three of these four examp
Page 325 and 326: Ex.24: Symphony No.2 movement II, c
Page 327 and 328: 317 listened for to be appreciated.
Page 329 and 330: 319 Several points about this extra
Page 331 and 332: 321 The second movement of this sym
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323 rhythmic whiplash, a veritable
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325 apart from the work of the stri
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327 unison by an instrument of a di
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329 The texture of this passage can
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331 The trumpet also reflects this
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333 With the exception of the octav
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335 Ex.7: Symphony No.2 movement I,
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337 Despite the frequent recurrence
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339 Ex.ll: Alle~ro for strings, bar
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341 one-half of the piece. The viol
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343 10 Th.,. .p :[ Yla. 'fIe. .p Db
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345 In summary, Lilburn's woodwind
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Ex.16: Symphony No.1 movement I bar
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349 the timpani is in the main used
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35) Ex.24: Symphony No.2 movement I
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353 7 INTERLUDE Discussion in the p
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355 quick-slow-quick or slow-quick-
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357 development as a composer did n
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359 after they were brought into cu
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