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

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21 appropriate, will be discussed in detail later in this study. In addition to the above-mentioned literature related to the topic of this study, there are also a few isolated articles, interviews, reports or reviews that cannot be categorised with any of the literature already detailed. One of these is an unpublished interview 43 of Douglas Lilburn by Jack Body, made in 1975 on the occasion of Lilburn's 60th birthday. Whereas Body's interview with Lilburn in the Canzona 6eJ~chk~6t concentrates exclusively on Lilburn's life up to his appointment at the Victoria University College, the 1975 interview concentrates more on Lilburn's later work as a composer. Another source of invaluable information is Lilburn's reports on his overseas leaves, submitted to the Council of the Victoria University f II " 44 o We 1ngton. A third additional source of invaluable information is the printed booklet edited and compiled by Jack Body, that accompanies the three-record box set of New Zealand electronic music issued in 1975 by Kiwi Records. 45 Unlike the notes that accompany other recordings, this booklet provides a detailed account of the music contained on the records. gives a good general account of the growth of electronic music in New Zealand and charts the course towards the establishment and development of an electronic music studio at the Victoria University of Wellington. 46 It Since the 1940s, many writers have commented on aspects of New Zealand composition in general and Lilburn's music in particular. The names of three writers stand out from the rest - Owen Jensen and 43 Jack Body interviewing Douglas Lilburn October 1975. Unpublisbed typescript of taped interview, 6pp. Copy at Alexander Turnbull Library. 44 The reports for Lilburn's leave in 1963 and 1969 only are available. These are: Douglas Lilburn, typescript 6pp. Douglas Lilburn, typescript 4pp. Report on. refresher leave 1963. Unpublished Copy at Alexander Turnbull Library. Report on overseas leave 1969. Unpublished Copy at Alexander Turnbull Library. Both these reports give a good insight into Lilburn's growing interest in the electronic medium. 45 SLD-44/46. 46 All the compositions included in this three-record set were realised at the Electronic Music Studio of Victoria University of Wellington.
22 Frederick Page for the volume of· their writings on the topics, and Antony Alpers ('Marsyas,47) for his occasional perspicacious comment on aspects of Lilburn's music in the 1940s. It is worthwhile making brief mention of the contributions these three writers have made to the understanding of Lilburn's music. Both Jensen's and Page's writings span almost the entire length of Lilburn's output as a composer. Jensen's writing on Lilburn began in the 1940s through the pages of Music Ho and has continued to the present day through the pages of The Evening Post. Page began writing on Lilburn's music in The Press in the 1940s and has continued to do so as one of the two music reviewers for the New Zealand Listener. Both these writers were quick to encourage Lilburn's work 1n the 1940s, and indeed, they were the two who most helped bring many of his compositions to public attention. Neither, though, have said much of substance about Lilburn's music in any of their writing. Their colourful prose most often concentrates on effect rather than content. Jensen was always quick to point out the New Zealand quality in Lilburn's writing but never attempted a definition of that quality. Page's writing in the 1940s tended to concentrate on the modernness of thought in Lilburn's music, but rarely delved into the contents of the music. It was rMarsyasr, through the pages of the New Zealand Listener in the early 1940s, who most forcefully identified Lilburn's music with the New Zealand environment. His writing, though over1y~poetic and studded with direct comparisons to specific features of the landscape, did much to establish an early acceptance of Lilburn's works as being distinctively New Zealand in voice. It was !Marsyas' who sprang to Lilburn's defence against the frequent observations by reviewers that Lilburn's music was overly indebted to the music of Vaughan Williams and Sibe1ius: " ••• no really good composer has been totally a pioneer and inventor. Great composers point forward in their· latter works but in their eal'ly works they usually imitate slavishly. Every artist must learn by working on models at first. The men whose. music we hear and admire most, got their models from inventors whose works survive only as museum pieces. 47 Alpers used this pseudonym in his writings for the New Zealand Listener.
Page 1 and 2: THE BEGINNINGS AND DEVELOPMENT OF A
Page 3 and 4: ii ACKNOWLEDGEMENTS The author wish
Page 5 and 6: made access to personal documents a
Page 7 and 8: CON TEN T S VOLUME ONE Abstract Ack
Page 9 and 10: INTRODUCTION
Page 11 and 12: 2 colleagues for the opportunity to
Page 13 and 14: 4 to his compositional activity. As
Page 15 and 16: The first of these was Music Ho, th
Page 17 and 18: 8 the sounds of Vaughan Williams an
Page 19 and 20: 10 London. That New Zealand had nO
Page 21 and 22: 12 "He is most likely to be found t
Page 23 and 24: 14 [Broadcasting Corporation of New
Page 25 and 26: 16 of letters by Douglas Lilburn to
Page 27 and 28: 18 writings on these works, also to
Page 29: 20 study. On a number of occasions
Page 33 and 34: 24 attempted anything more than a s
Page 35 and 36: 26 1 PREAMBLE The society into whic
Page 37 and 38: 28 oratorio (courtesy of Great Brit
Page 39 and 40: 30 (ballads, popular songs, drawing
Page 41 and 42: 32 the four main centres, there was
Page 43 and 44: 34 ••. You know wh,en you talk
Page 45 and 46: 36 Consequently, great emphasis was
Page 47 and 48: 38 Interval 10. Orchestra, "Stray S
Page 49 and 50: 40 Since all things fade Into a sen
Page 51 and 52: 42 It seems unlikely that this deci
Page 53 and 54: 44 currently housed at the Alexande
Page 55 and 56: 46 awarded to Miss Dorothy I. Johns
Page 57 and 58: 48 study with Vaughan Williams. It
Page 59 and 60: 50 3 1937-1940 ROYAL COLLEGE AND CE
Page 61 and 62: 52 the essence of a personality and
Page 63 and 64: 54 subsequently accepted by, the Go
Page 65 and 66: 56 featuring entertainment from a w
Page 67 and 68: (57) 7. Two Pianos and Orchestra. E
Page 69 and 70: 59 Of the Drysdale Overture, Mr Try
Page 71 and 72: 61 cannot be over-rated: for the fi
Page 73 and 74: 63 4 1941-1945 WELLINGTON TO ~HRIST
Page 75 and 76: 65 house under the guidance of Deni
Page 77 and 78: 67 the dress-rehearsal on the Sunda
Page 79 and 80: 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-
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221 This first statement of theme 1
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223 This transformed version of the
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225 But this brief period of motivi
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227 developmental treatment of mate
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A second, and this time tutti, stat
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231 dissonant chords (combining the
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233 lines between the three section
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235 Ex.3Ib: Symphony No.1 movement
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237 However, this is more an exampl
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239 melodic cue from the tailpiece
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241 Some themes are even briefly de
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243 unfolding of the second subject
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245 Table 14: Relative durations of
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Compare with Ex.4Ib: oboe bars 38-4
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249 Ex.45c: flute I bars 145-52. Ex
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Ex.48: Symphony No.2 movement I, cl
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253 Szmrhony No.2, a full recapitul
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255 100-149 Development beginning w
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257 2. The material that forms the
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259 harmonies above a pedal note, o
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261 4 HARMONY IN LILBURN If anyone
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263 chromaticism. This chromaticism
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265 Thus, the above five examples i
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267 Ex.S: Diversions movement II, b
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269 in this extract is echoed in th
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271 Ex.12c: Aotearoa Overture, stri
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273 The only two that do not show e
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Ex.14: Festival Overture, bars 230
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277 independence of the bass-line.
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279 Ex.19: Festival Overture, bar 3
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281 preparatory to its move to the
Page 293 and 294:
However, most of these F minor stat
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285 heard from bars 10-15 is the no
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287 note is articulated, yet where
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289 Ex.27: Aotearoa Overture, bars
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291 Ex.32: Symphony No.2 movement I
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293 Ex.35: ~~hony No.2 movement It
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295 development sections are marked
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movement has begun, the music remai
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299 Where a bass-line does contain
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301 Here, it is the viola, cello an
Page 313 and 314:
303 Ex.5: Aotearoa Overture, rhythm
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305 , I , ~r"'·f ..,... ~..L +" f
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307 Ex.12: Aotearoa Overture, clari
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309 suddenly thrown onto a weak bea
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221 222 224 227 231 233 235 238 239
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The first three of these four examp
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Ex.24: Symphony No.2 movement II, c
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317 listened for to be appreciated.
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319 Several points about this extra
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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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