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

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336 Ex.8: Festival Overture, upper strings bars 168-9. In Song of the Antipodes, this type of scoring appears with reasonable regularity in conjunction with successive recollections of the main chorale-like theme. The following bars (Ex.9) are extracted from the end of one such passage: Ex.9: Song of the Antipodes, strings, bars 453-61. ------frs .. -c. 1--- In movement IV of Symphony No.2, a broad melodic sweep can be heard in the violin lines from bars 214-27. In this extract (Ex.IO), the violins move in octaves above a static accompaniment. Other examples of this type of scoring can be found in Symphony No.1 movement I from bars 282-90,_ in movement II from bars 130-3, and in movement III as part of the closing tutti of the work. In Aotearoa Overture it can be heard in a couple of significant passages, most notably at the beginning of the development section (bars 103-11) and at the commencement of the coda (bars 220-23). In Allegro it is most prominent in the recapitulation section bars 315-20.
337 Despite the frequent recurrence of this type of scoring, it is, nevertheless, a technique reserved for special, passages. Most often, Lilburn's string lines are conventionally placed in relationship to each other, and each instrument lies within its traditional register. Ex.IO: Symphony No.2 movement IV, bars 209-27. 209 R7 I ~' , n. "' TEmp. \"n"r~~~~~~~~~g~F nn211~~~~~~"'"-:r=:-t'~;t!:-:=:::.:t-~~~ ~I~ F-= '- ---=-- ~~~~::::.::1'::=;;::':: d,,- r-:~ ~t~~t! t;;::r~';f=;.~~~ :~' I~~ d~W ~~~ t~-~~ =:-i?"'='; ~~~.drot -~
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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
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However, most of these F minor stat
Page 295 and 296: 285 heard from bars 10-15 is the no
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Page 303 and 304: 293 Ex.35: ~~hony No.2 movement It
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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
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Page 317 and 318: 307 Ex.12: Aotearoa Overture, clari
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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
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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: 335 Ex.7: Symphony No.2 movement I,
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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