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

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81<br />

But I think too, that an occasion like this<br />

makes it possible to discover some <strong>of</strong> our<br />

assets, some <strong>of</strong> those unique advantages we<br />

have in being <strong>New</strong> Zeal<strong>and</strong>ers."4<br />

He summed up the main theme <strong>of</strong> his address:<br />

"I want to plead with you the necessity <strong>of</strong><br />

having a <strong>music</strong> <strong>of</strong> our own, a living tradition<br />

<strong>of</strong> <strong>music</strong> created in this country, a <strong>music</strong><br />

that will satisfy those parts <strong>of</strong> our being<br />

that cannot be satisfied by the <strong>music</strong> <strong>of</strong><br />

other nations."S<br />

He described this talk later as "a heart-felt sort <strong>of</strong> manifesto"<br />

springing "from a very real <strong>music</strong>al isolation". 6<br />

Coincidentally, Lilburn had been thinking <strong>of</strong> travelling to<br />

America at this time to attend a Summer School at Tanglewood, Boston.<br />

7<br />

He had heard about the school from a visiting Pr<strong>of</strong>essor Canby, who<br />

had explained that it was run on a workshop basis (the idea <strong>of</strong><br />

'workshops' for <strong>music</strong> was a new one to Lilburn at this stage\ <strong>and</strong> that<br />

it was organised by the Boston Symphony Orchestra with most <strong>of</strong> the<br />

orchestra members in attendance.<br />

Needless to say, Lilburn was delighted<br />

to find that a similar (in concept) venture was being planned in <strong>New</strong><br />

Zeal<strong>and</strong>.<br />

Lilburn's Cambridge Overture was performed by the orchestra at<br />

the Cambridge Music School (the orchestra was strings only in that<br />

first year). Lilburn was pleasantly surprised to find that he had<br />

underestimated the ab~lity <strong>of</strong> the student performers, <strong>and</strong> had<br />

mistakenly 'written down' to what he had thought was their level. 8<br />

evident.<br />

Lilburn's success as composer-in-residence <strong>of</strong> the school was<br />

Because <strong>of</strong> this, <strong>and</strong> because <strong>of</strong> the large number <strong>of</strong><br />

<strong>music</strong>ians interested in composition attending the school, it was<br />

decided to run a special composers' group the following year.<br />

This group at the second <strong>music</strong>. school included Ronald Tremain,<br />

Dorothea Franchi~<br />

Edwin Carr, Ronald Dellow, Larry Pruden <strong>and</strong> David<br />

Farquhar, all <strong>of</strong> whom,to varying degrees, would eventually make<br />

4 Douglas Lilburn, Cambridge Music School address, pp.I-2.<br />

S ibid. p.3.<br />

6 Douglas Lilburn, University <strong>of</strong> Otago Open Lecture,p.l.<br />

7 Pr<strong>of</strong>essor <strong>of</strong> English Literature at Yale.<br />

S Scott Papers.

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