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

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VOLUME TWO PART II THE WORK (CONT'D) 8 First period chamber music 9 First period piano music 10 A style in transition 1 1 Symphony No.3 .. 12 Second period piano music .. 361 429 482 531 590 PART III CONCLUSION The New Zealandness of Lilburn's music 2 Lilburn and the work of other New Zealand composers 3 Summary and conclusions 616 634 676 PART IV APPENDICES A B C D E F G Additional information about organisations central to the development of New Zealand composition Additional information about composers central development of a New Zealand tradition composition 1940-65 •• Year-by-year list of Lilburn's compositions List of published and recorded compositions by Lilburn •• •• Bibliography of writings by Douglas Lilburn Bibliography I: Douglas Lilburn Bibliography II: General to the of 684 737 749 756 760 764 773
INTRODUCTION
Page 1 and 2: THE BEGINNINGS AND DEVELOPMENT OF A
Page 3 and 4: ii ACKNOWLEDGEMENTS The author wish
Page 5 and 6: made access to personal documents a
Page 7: CON TEN T S VOLUME ONE Abstract Ack
Page 11 and 12: 2 colleagues for the opportunity to
Page 13 and 14: 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
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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
Page 71 and 72:
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
Page 117 and 118:
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
Page 153 and 154:
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,
Page 193 and 194:
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).
Page 201 and 202:
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
Page 277 and 278:
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.
Page 289 and 290:
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
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287 note is articulated, yet where
Page 299 and 300:
289 Ex.27: Aotearoa Overture, bars
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291 Ex.32: Symphony No.2 movement I
Page 303 and 304:
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
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
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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
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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
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
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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
Page 355 and 356:
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-
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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