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

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334 thematic statements. In a sense, though, it is the first violins that are now doubling the second violins an octave above. The first violin line in these instances is placed so high in the register that it becomes a colouring timbre, whilst the second violin dominates in the more powerful middle-upper register: Ex.6: Symphony No.2 movement I, violins, bars 78-82 •. This point provides a neat transition for this discussion to move away from a comparative examination of the Aotearoa Overture and Symphony No.2 towards a section-by-seetion examination of Lilburn's orchestrational technique. The String Section The example quoted immediately above (Ex.6) is part of a passage of characteristic string writing by Lilburn. In nearly every orchestral movement, and indeed in some of his string orchestral movements, one can hear similarly-scored passages. This characteristic sound occurs when Lilburn takes one of his main themes, or a variant, and places it high in the upper string register. The lower instruments of the orchestra drop out of the texture (often, in fact, the upper strings - which may include the cello working in the treble clef- are the only. instruments " sounding). The upper strings then take the theme or variant, and articulate it broadly and at a no~te dynamic. The high'violin is most often accompanied by a homophonic texture. In Symphony No.2 movement I, this type of passage occurs twice, once in the exposition section (bars 77-82) and once in the recapitu~ation section (bars 202-7) (see Ex.7).
335 Ex.7: Symphony No.2 movement I, bars 78-82. I Fl. 2 I ab. 2 I CI. • , BIft . • Hn. ... u Tpl. Thn. ~ ,. ~~. ,-. !~ . -... ' ~ I: ~ . v i ~~. e' ~~ ~. .. 12 J. I I I~ ~ ~p. • ~ .... -:--- I S~ If t ~ ~e ~~ ,.,. .-.-- - ~~ !~: tS: tt ~~ tf. ..... ~~. ~p.. ... . ~. ;,,- k- '-' 1"-':'1 p~ "b- '-' 1"-':'1 ft TiI'llJl. .. ~I1~_· -:-- ~r~ ~ -:-- ~ ...r-r11 ~ _ i " •. 1 [ Y1l\.2 VIa. Vic. Db. I" A v I~ ~P~ ~P~ ..· ..• -:-- ~...- I~ _'7' -:-- ~...-I"l! "" ----- ~ -:-- ~:- f'", ~;. ~i. n-:-- ~,: t{. ~ - ...... ; I In the Festival Overture, this type of passage occurs in the recapitulation section (see Ex.S). Here though, the articulation of the theme is not so much broad as sweeping. The texture is homophonic, with movement mainly in parallel thirds doubled at the octaves. The violin, viola and cello lines are the only instruments employed throughout this extract.
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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
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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
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
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: 333 With the exception of the octav
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
Page 365 and 366: 355 quick-slow-quick or slow-quick-
Page 367 and 368: 357 development as a composer did n
Page 369 and 370: 359 after they were brought into cu
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