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

The first three of these four examples (Ex.17,18 and 19) show the use
of the 'active' rest in conjunction with the broken dotted rhythm
pattern. The use of the 'active' rest in the fourth example (Ex.20)
helps establish what the performance indication calls a 'springing
rhythm' •
The active rest, particularly in conjunction with the broken
dotted rhythm pattern, permeates many of Lilburn's textures. The most
obvious example of this occurs in the first movement of Symphony No.2.
Here, a rhythmic motif first stated in the cello line at
(J'~~1-r"4 ~ ~ -
bar
becomes a unifying motif for much of
p: j l' t m r~ \
- 1'W"\000rc".
the material in the movement.
this figure recurs throughout the introduction.
313
In the exposition section, for example,
It is used in
repetition as an ostinato figure in conjunction with the pedal that
accompanies the first statement of theme la, and characterises the
material that bridges the first subject group with the second.
Bars
69-72 show a version of this motif used prominently in imitation between
the instruments.
Ex.21: Symphony No.2 movement I, bars 69-72
I
1'1.
•
I
Ob.
•
I
CI.
•
I
Bn,
•
~,~
'0'
69
Vlo.,[
__ __..f
VI.~
VI.,