26.12.2013 Views

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

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

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

SHOW MORE
SHOW LESS

You also want an ePaper? Increase the reach of your titles

YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.

82<br />

contributions to the <strong>development</strong> <strong>of</strong> composition within <strong>New</strong> Zeal<strong>and</strong>.<br />

Larry Pruden describes the first session <strong>of</strong> that composers' group:<br />

"After the <strong>of</strong>ficial opening <strong>of</strong> the school,<br />

the composers ••• were directed to a remote<br />

room overlooking the cricket field. It was<br />

hot <strong>and</strong> windless. While waiting for Douglas<br />

to appear we talked, somewhat nervously I<br />

think. Although on average we were only ten<br />

years younger than he, already he had achieved<br />

so much, seemed so established <strong>and</strong> mature, so<br />

remote, that most <strong>of</strong> us regarded him with SOme<br />

degree <strong>of</strong> awe. When, finally he came into the<br />

room, we scuttled for chairs <strong>and</strong> sat waiting.<br />

I don't know what we expected, but it was<br />

certainly not what we got -a long, long,<br />

silence. Douglas sat gazing beyond us, out<br />

beyond the cricket field <strong>and</strong> the paddocks <strong>and</strong><br />

distant trees to the rolling hills on the<br />

horizon.<br />

<strong>The</strong> silence was <strong>of</strong> course eventually broken,<br />

as it had to be, but I haven't the remotest<br />

idea what the comment was that Douglas made.<br />

He hoped, no doubt, to provoke a response,<br />

but by this stage none <strong>of</strong> us could utter a<br />

sound, <strong>and</strong> consequently a further lengthy<br />

silence descended. As the afternoon wore on<br />

we all gained courage; the proportion <strong>of</strong><br />

silence <strong>and</strong> comment grew more equitable <strong>and</strong><br />

some dialogue was finally reached."9<br />

Fortunately the members <strong>of</strong> the composition group quickly overcame their<br />

'awe', <strong>and</strong> the following eleven days proved to be very pr<strong>of</strong>itable ones<br />

for both the pupils <strong>and</strong> the teacher.<br />

"It wasn't until 1947 when I began to teach<br />

at the University in Wellington, <strong>and</strong> had been<br />

confronted by a group <strong>of</strong> enterprising young<br />

composers at Cambridge SUmmer School, that I<br />

realised how complacent <strong>and</strong> negligent I had<br />

been for many years. I began to put myself<br />

back to school." 10<br />

Pruden describes the method <strong>of</strong> teaching that Lilburn chose for his<br />

composers group:<br />

"Douglas never imposed his own Vl.ews or<br />

methods on us. We listened to <strong>music</strong>, did a<br />

certain amount <strong>of</strong> analysis, talked a great<br />

deal, were occasionally sharpened up with<br />

9 Larry Pruden, Douglas <strong>and</strong> Cambridge •. Douglas Lilburn, Wellington,<br />

Composers Association <strong>of</strong> <strong>New</strong> Zeal<strong>and</strong>, 1980:41-2.<br />

10 Douglas Lilburn, Christchurch Society for Contemporary Music<br />

address,p.13.

Hooray! Your file is uploaded and ready to be published.

Saved successfully!

Ooh no, something went wrong!