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

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84<br />

first performed the work in a radio broadcast from IYA on Wednesday<br />

15 January 1946. It was visiting pianist Lili Kraus who gave the first<br />

public performance <strong>of</strong> the work in Christchurch on 8 April 1947,- <strong>and</strong> in<br />

November <strong>of</strong> that year it was performed in London by Colin Horsley at a<br />

recital in Wigmore Hall. C.F.B. in <strong>The</strong> Press wrote <strong>of</strong> Lili Kraus's<br />

performance:<br />

"[<strong>The</strong> second half] ••• opened with Douglas Lilburn's<br />

Sonatina which has a freshness suggestive <strong>of</strong> out <strong>of</strong><br />

doors. Lili Kraus repeated the work as a tribute to<br />

a <strong>New</strong> Zeal<strong>and</strong> composer, <strong>and</strong> graciously joined with<br />

the audience in their appreciation <strong>of</strong> it." 14<br />

Chaconne, originally entitled <strong>The</strong>me <strong>and</strong> Variations for Piano,<br />

was also written later in 1946.<br />

Chaconne was Lilburn's attempt at a<br />

'show-piece' for piano, conceived in terms <strong>of</strong> the virtuosi pieces <strong>of</strong> the<br />

nineteenth century.<br />

Once World War II was over <strong>and</strong> <strong>New</strong> Zeal<strong>and</strong> returned to its<br />

normal peace-time existence, the Government <strong>and</strong> the National Broadcasting<br />

Service resumed plans for a full-time pr<strong>of</strong>essional orchestra. Building<br />

once again on the nucleus <strong>of</strong> strings in the National Broadcasting Service<br />

Sring Orchestra, the National Orchestra <strong>of</strong> <strong>New</strong> Zeal<strong>and</strong>'s Broadcasting<br />

Service was formed <strong>and</strong> met together for the first time in October <strong>of</strong><br />

1946. 15 Pr<strong>of</strong>essor Shelley!6 during the planning for the <strong>New</strong> Zeal<strong>and</strong><br />

Centennial Celebrations, had made it clear that the formation <strong>of</strong> the<br />

National Centennial Orchestra marked the beginning <strong>of</strong> the next one<br />

hundred years <strong>of</strong> <strong>music</strong>al endeavour rather than a climax <strong>of</strong> the past<br />

century. However, for a while after the formation <strong>of</strong> the National<br />

Orchestra in 1946 it seemed, to the critics <strong>of</strong> the orchestra, that<br />

Shelley's optimism was unfounded.<br />

<strong>The</strong> centralisation <strong>of</strong> <strong>music</strong>al resources depleted <strong>music</strong>al<br />

resources in other main- centres, robbing them <strong>of</strong> their best performers<br />

<strong>and</strong> teachers. <strong>The</strong> Government's plan to compensate for this by sending<br />

orchestral members back to the other main centres for part <strong>of</strong> the year<br />

14 C.F.B •• <strong>The</strong> Press 9 April 1947:9.<br />

15 Peter Downes <strong>and</strong> Peter Harcourt, Voices in the Air Wellington,<br />

Methuen Publications in association with Radio NeW-Zeal<strong>and</strong>, 1976: 134.<br />

16 <strong>The</strong>n director <strong>of</strong> the National Broadcasting Service <strong>and</strong> Chairman <strong>of</strong><br />

the National Centennial Music Committee.

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