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

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An extended version of this timpani solo announces the beginning of the
development section in this movement:
Ex.22: Symphony No.1 movement 1, timpani bars 142-6.
Lilburn frequently makes effective use of the timpani in
conjunction with a sequential repetition of a distinctive motif. Where
the timpani is used in this capacity it invariably features as a
response, in'rhythmic imitation, of the motif repeated.,_ Two good
examples of this were quoted in the chapter "Rhythm in Lilburn". 5
occur in bars 71 and 72 of Symphony No.2 movement 11, and in bar 50 of
Symphony No.1 movement 1.
Good examples of the growing independence of thought for the
timpani can be found in Symphony No.2. For example, at the end of the
first movement, the timpani is allotted the task of recalling some of
the characteristic rhythms used in the movement:
They
Ex.23: Symphony No.2 movement 1, bars 247-52.
! VI ...
poco allargando
VI ...
=--
--==
In movement IV of Symphony 'No.2, the timpani can be found moving
in imitation with the oboe during the announcement of the second subject.
In this passage, the timpani also helps reinforce the pedal harmonies
underneath the oboe theme (initially B, latterly D):
5 See Ex.34 and 36 of Part II, Chapter 5.