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

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304 Ex.7: Aotearoa Overture, bars 72-9. 1 ,.... .,1 r Fi1,.. L--- \ 1 1 1 I , , 11 . f r ~ I,-~ '1..... -........-. ' ••",p'"",---"", _. t:'" u«.5£. ...... cl-------- 0 - - 01 -----. 01 ....-------... - -------- ""---------- Ex.8: Symphony No.2 movement I, bars 37-42. ""----__ 7_ff __ --
305 , I , ~r"'·f ..,... ~..L +" f ~F cl...,. \ . "'"' -- - ) ; , ,-..\ ------- , 1 ,. -- ., ~/.'" "'-'" - (,1 ...... / ...-.J. ""'" I ,--. , I \ \ VJlr ~,. fr ~ Example 5 shows the process of motivic imitation~within a threepart texture, in which all three parts are involved in the imitation. Example 6 shows motivic imitation within a four-part texture in which the melody (trumpet I) line, the upper strings and the lower strings all participate in the process of imitation. The fourth line - an additional harmony line in the upper strings, pitched, in fact, above the trumpet melody - serves to reinforce the chosen harmony. Example 7 - the announcement of the second subject of Aotearoa Overture - shows an inner harmony line based on the reiteration of rhythmic characteristics present in the theme itself. Example 8 shows the use of a fully fledged counter-motif as part of the inner-harmony. This extract is only a portion of a much longer passage that shows alternating and overlapping statements of melody in the woodwind, with countermelody in the viola and cello. To digress briefly: as this passage progresses, the countermelody gradually assumes the shape and properties of the melody. By mid-way through the passage it shows movement in imitation of the melody line: Ex.9: Symphony No.2, movement I, flute, oboe, clarinet and cello bars 42-6. c" ..... tu- • ,....&-Io~ 1 fA ,,,lIt' L ....__'_J 1" ...___, -- L~ \
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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-
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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
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 and 282: 271 Ex.12c: Aotearoa Overture, stri
Page 283 and 284: 273 The only two that do not show e
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: 303 Ex.5: Aotearoa Overture, rhythm
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
Page 333 and 334: 323 rhythmic whiplash, a veritable
Page 335 and 336: 325 apart from the work of the stri
Page 337 and 338: 327 unison by an instrument of a di
Page 339 and 340: 329 The texture of this passage can
Page 341 and 342: 331 The trumpet also reflects this
Page 343 and 344: 333 With the exception of the octav
Page 345 and 346: 335 Ex.7: Symphony No.2 movement I,
Page 347 and 348: 337 Despite the frequent recurrence
Page 349 and 350: 339 Ex.ll: Alle~ro for strings, bar
Page 351 and 352: 341 one-half of the piece. The viol
Page 353 and 354: 343 10 Th.,. .p :[ Yla. 'fIe. .p Db
Page 355 and 356: 345 In summary, Lilburn's woodwind
Page 357 and 358: Ex.16: Symphony No.1 movement I bar
Page 359 and 360: 349 the timpani is in the main used
Page 361 and 362: 35) Ex.24: Symphony No.2 movement I
Page 363 and 364: 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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