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

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57 written by Lilburn for the matinee concert. Lilburn began work the following Monday and, in a burst of energy, wrote an orchestral score over a period of seventeen days (11-28 March). 18 Braithwaite liked the composition and suggested it be entitled 'Aotearoa' Overture. Incredibly, the programme to the concert included a note stating "Douglas Lilburn is a discovery of Warwick Braithwaite •••• The work was especially written for the matinee as a result of a chance meeting 19 ll • 'Aotearoa' Overture opened the Centenary Matinee, held in His Majesty's Theatre, Haymarket, beginning at 2.30 pm on 15 April 1940. programme presented was a diverse one; ranging in content from traditional Maori songs, a haka and two of Alfred Hill's 'Maori song~, to solo items by New Zealand performers such as Denis Dowling, a recitation entitled My Early Life ~n The New Zealand by Sir Hugh Walpole and t h e draw~ng ' 0 f I' ~g h' tn~ng s k etc h es 0 f persona 1" ~t~es b y art~st 'D' av~ d Low. 20 The concert was given in the presence of the Duchess of Kent and 21 the proceeds amounted to £.5,329. By May of 1940 Lilburn was ready to leave London. A variety of events precipitated his departure. He had received his call-up papers, although his weak eyesight made him ineligible to join the armed forces; Hitler was on the verge of overrunning France; and Lilburn's brother in the RAF (Ewen) had recently been reported missing in action, presumed killed. Above all, though,he was beginning to feel the beckoning of his home country. 18 As dated in the autograph manuscript score to Aotearoa Overture. 19 New Zealand Centenary Matinee, programme to concert, op.cit. 20 The full programme comprised: 1. Aotearoa Overture by Douglas Lilburn. 2. Maori Songs: Kapine Pine (Welcome Song) - traditional Hinemoa and Tutanekai - music by Wainwright Morgan, words by Hubert Carta. E Pat a Waiari (Stick-throwing song) - traditional Performed by Hubert Carta. 3. Story. The Payment of a Debt by Merton Hodge. 4. Cello Solos by Arnold Trowell. Read by Merton Hodge. Performed by Arnold Trowell. Nocturne An Old Time Measure 5. Aria. IlRitorna Vincitor" (Aida) by Verdi. Performed by Hinemoa Rosieur. 6. Story. Royal Tact (An incident in the life of Queen Victoria) written an~ performed by Hector Bolitho.
(57) 7. Two Pianos and Orchestra. Esther Fisher and Kathleen Levi. Music from Carnival des Animaux by Saint-Saens. "Introduction et Marche du Lion." "Aquarium" "Finale" 8. David Low 'will draw your selected personalities'. 9. Leslie Henson will auction David Low's drawings as well as a blank canvas 30 by 25 for a sketch portrait by Captain Oswald Birley, MC, the original drawing of the poster for the matinee by Harry Roundtree, and a signed copy of Miss Jean Batten's My Life. 10. Haka performed by members of the High Commissioner's Staff. Interval of 12 minutes 1. Orchestra - tone poemAue by Warwick Braithwaite. 2. An untitled item by the New Zealand Anti-Tank Battery. 3. Maori Songs performed by Eileen Driscoll: Puhihuia (A Lament") - Hamutani Tarara Kita - Piper ita 4. Flute Solos by John Amadio. Carnival of Venice - Bruccialdi Moto Perpetuo - Frank Bridge 5. Story. My Early Life in New Zealand Written and performed by Sir Hugh Walpole CBE. 6. Impressions by Keith Wilbur. 7. Maori Songs by Alfred Hill, performed by Rosina Buckman. Waiata Maori Waiata Poi. 8. A New Zealand Illustrator - Harry Roundtree. 9. Arias performed by Denis Dowling. "Deh Vienni aHa Finestra"(Don Giovanni) - Mozart "Largo al Factotum" (Barber of Seville) - Rossini 10. Othello's Defence by Shakespeare. Read by Shayle Gardner. 11. Sacred Song Bless Thou the Lord, 0 my Soul. by Harold Craxton. ferformed by Stella Murray. If any of the programmed artists were unable to appear, there would be. piano solos .by.Jean McLeod (Etude in C-sharp minor - Chopin) and Colin Horsley (Etude in G-flat (Butterfly) and D-flat Etude - Chopin). 21 New Zealand Centenary: The Duchess of Kent at matinee. Unsourced clipping, Alexander Turnbull Library.
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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
Page 15 and 16: The first of these was Music Ho, th
Page 17 and 18: 8 the sounds of Vaughan Williams an
Page 19 and 20: 10 London. That New Zealand had nO
Page 21 and 22: 12 "He is most likely to be found t
Page 23 and 24: 14 [Broadcasting Corporation of New
Page 25 and 26: 16 of letters by Douglas Lilburn to
Page 27 and 28: 18 writings on these works, also to
Page 29 and 30: 20 study. On a number of occasions
Page 31 and 32: 22 Frederick Page for the volume of
Page 33 and 34: 24 attempted anything more than a s
Page 35 and 36: 26 1 PREAMBLE The society into whic
Page 37 and 38: 28 oratorio (courtesy of Great Brit
Page 39 and 40: 30 (ballads, popular songs, drawing
Page 41 and 42: 32 the four main centres, there was
Page 43 and 44: 34 ••. You know wh,en you talk
Page 45 and 46: 36 Consequently, great emphasis was
Page 47 and 48: 38 Interval 10. Orchestra, "Stray S
Page 49 and 50: 40 Since all things fade Into a sen
Page 51 and 52: 42 It seems unlikely that this deci
Page 53 and 54: 44 currently housed at the Alexande
Page 55 and 56: 46 awarded to Miss Dorothy I. Johns
Page 57 and 58: 48 study with Vaughan Williams. It
Page 59 and 60: 50 3 1937-1940 ROYAL COLLEGE AND CE
Page 61 and 62: 52 the essence of a personality and
Page 63 and 64: 54 subsequently accepted by, the Go
Page 65: 56 featuring entertainment from a w
Page 69 and 70: 59 Of the Drysdale Overture, Mr Try
Page 71 and 72: 61 cannot be over-rated: for the fi
Page 73 and 74: 63 4 1941-1945 WELLINGTON TO ~HRIST
Page 75 and 76: 65 house under the guidance of Deni
Page 77 and 78: 67 the dress-rehearsal on the Sunda
Page 79 and 80: 69 Nunc Dimittis,24 Five Bagatelles
Page 81 and 82: 71 On 29 September J943, the first
Page 83 and 84: 73 for violin and piano, the Sonata
Page 85 and 86: 75 No.less deserving of praise were
Page 87 and 88: 77 Correspondence on the subject wa
Page 89 and 90: 79 Inglis Gundry recalled an incide
Page 91 and 92: 81 But I think too, that an occasio
Page 93 and 94: 83 some aural tests, and in general
Page 95 and 96: proved unworkable,17 with the resul
Page 97 and 98: 87 entitled Song of the Antipodes (
Page 99 and 100: 89 "Not in Australia ••• alth
Page 101 and 102: 9 I In 1948 Lilburn continued commu
Page 103 and 104: 93 to New Zealand music. The immedi
Page 105 and 106: generated interest in his compositi
Page 107 and 108: 56 Music School, was with trying to
Page 109 and 110: 99 6 1950-1960 WELLINGTON "So I put
Page 111 and 112: 101 feature film related the storie
Page 113 and 114: 103 The next production in which Li
Page 115 and 116: 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
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285 heard from bars 10-15 is the no
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287 note is articulated, yet where
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289 Ex.27: Aotearoa Overture, bars
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291 Ex.32: Symphony No.2 movement I
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293 Ex.35: ~~hony No.2 movement It
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295 development sections are marked
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movement has begun, the music remai
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299 Where a bass-line does contain
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301 Here, it is the viola, cello an
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303 Ex.5: Aotearoa Overture, rhythm
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305 , I , ~r"'·f ..,... ~..L +" f
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307 Ex.12: Aotearoa Overture, clari
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309 suddenly thrown onto a weak bea
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221 222 224 227 231 233 235 238 239
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The first three of these four examp
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Ex.24: Symphony No.2 movement II, c
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317 listened for to be appreciated.
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319 Several points about this extra
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321 The second movement of this sym
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323 rhythmic whiplash, a veritable
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325 apart from the work of the stri
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327 unison by an instrument of a di
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329 The texture of this passage can
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331 The trumpet also reflects this
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333 With the exception of the octav
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335 Ex.7: Symphony No.2 movement I,
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337 Despite the frequent recurrence
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339 Ex.ll: Alle~ro for strings, bar
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341 one-half of the piece. The viol
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343 10 Th.,. .p :[ Yla. 'fIe. .p Db
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345 In summary, Lilburn's woodwind
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Ex.16: Symphony No.1 movement I bar
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349 the timpani is in the main used
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35) Ex.24: Symphony No.2 movement I
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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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