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Douglas LilburN Piano Music 6

VOLUME 5

Works for String Orchestra


Douglas LilburN

Complete Piano Music Edition

Volume 6


Douglas Lilburn Complete Piano Music Edition

Volume 6 (PEL06)

Sonata for Piano in F Sharp Minor (1939) © Alexander Turnbull Library Endowment Trust

‘Poco Lento’ (1960) © Alexander Turnbull Library Endowment Trust

The Young Pine Tree (1945) © Alexander Turnbull Library Endowment Trust

Hommage à D.A.F. (c.1965) © Alexander Turnbull Library Endowment Trust

Theme from ‘Variations on a Theme by Douglas Lilburn’ (1948) © Alexander Turnbull

Library Endowment Trust

‘Christmas 1942’ (1942) © Alexander Turnbull Library Endowment Trust

The copyrights of Douglas Lilburn’s music are owned by the Alexander Turnbull Library

Endowment Trust. Royalties from Douglas Lilburn’s music are paid to the Lilburn Trust for

the fostering and preservation of New Zealand music.

This edition © 2016 Promethean Editions Limited

Publisher: Ross Hendy

Series Editor: Robert Hoskins

Music Editor: Roderick Biss

Music Typesetter: Ben Woods

Cover Image: Leo Bensemann (1912–1986), Rain in the Paradise Garden, Takaka, 1979,

oil on hardboard, 575 x 605 mm. Collection of Christchurch Art Gallery

Te Puna O Waiwhetu. Reproduced by permission of the estate of the artist.

Photograph: Douglas Lilburn Collection, Alexander Turnbull Library, PAColl-2547-01

ISBN 978-1-877564-65-9 (print)

ISBN 978-1-77660-526-2 (eBook)

ISMN 979-0-67452-129-1

Promethean Editions Limited

PO Box 10-143

Wellington

NEW ZEALAND

http://www.promethean-editions.com

No part of this publication may be reproduced in any form or by

any means without permission in writing from the Publisher.

Promethean Editions would like to thank Creative New Zealand

for a grant made toward the publication of this volume.

rhlm


Douglas LilburN

Complete Piano Music Edition

Volume 6

FOREWORD

Douglas Lilburn biography

Editorial notes

iv

vii

MUSIC

SONATA FOR PIANO

IN F SHARP MINOR (1939) 1

‘Poco Lento’ (1960) 17

The Young Pine Tree (1945) 18

Hommage à D.A.F. (C.1965) 20

THEME FROM ‘VARIATIONS ON A

THEME BY DOUGLAS LILBURN’ (1948) 22

‘Christmas 1942’ (1942) 24

PEL06 – iii


FOREWORD

Douglas Lilburn occupies a pre-eminent position in New Zealand music, with a legacy extending

well beyond his compositional output. As a composer, teacher and mentor he presided in innumerable

ways over the artistic growth of New Zealand from 1940 onwards. From the early works redolent

of the influence of Sibelius and Vaughan Williams, to the electro-acoustic pieces of his later years,

his works have been instrumental in establishing a genuinely vernacular voice in New Zealand classical

music. In 2005 Trust Records launched the first volume in the award-winning recording series

showcasing all of Lilburn’s piano music, receiving ‘Best Classical Album’ in the 2005 Recording

Industry of New Zealand Music Awards and in the same year, Gramophone acclaimed that ‘[These]

performances and recordings are unobtrusively excellent.’

This edition is the sixth of eight companion volumes to accompany the recorded series and draws

on the expertise of Dr. Robert Hoskins, an Associate Professor at Massey University, and Rod Biss,

formerly of Schott London, Faber Music and Price Milburn Music, who was instrumental in first

publishing Lilburn’s piano music in the 1970s. Having worked with Lilburn directly on these early

publications, Biss has now revisited original source materials in the preparation for this series.

Together, the editors have carefully considered and clarified Lilburn’s manuscripts and early publications

in preparing these volumes as both scholarly and practical editions for performance, and

presented with the exacting and elegant house style of Promethean Editions.

This collection does not generally include juvenilia, trivia, incomplete or rejected pieces/movements.

Exceptions are specified in the notes.

Biography

Douglas Lilburn (1915–2001) grew up on ‘Drysdale’, a hill–country farm bordering the mountainous

region at the centre of New Zealand’s North Island. He often described his boyhood home as

‘paradise’ and his first major orchestral work, Drysdale Overture (1937), written while a student

under the aegis of Ralph Vaughan Williams at the Royal College of Music in London, conjures up the

hills, bush and stream as primal sites of imaginative wonder. Recalling the impression of Drysdale

Overture, Lilburn wrote: ‘I’m left with that lovely Mark Twain image of Jim and Huckleberry drifting

their barge down that great river, looking up at the stars and wondering “whether they was made, or

only just happened.”’ At this time Lilburn wrote his Festival Overture and the Sonata 1939, together

with other works that expressed national pride: a cantata entitled Prodigal Country (1939), and the

Aotearoa Overture (1940), which has become a New Zealand classic. Although these works were

written in his student years, their content, style and general confidence reveal Lilburn as an achieved

artist.

Returning to Christchurch, Lilburn banded together with an innovative group of painters, poets and

publishers who were to prove influential. Settings of Allen Curnow and Denis Glover, for instance,

resulted in two iconic works: Landfall in Unknown Seas (1942), a voyage of spiritual discovery for

narrator and string orchestra, and the song cycle Sings Harry (1953), the musings of a middle-aged

bachelor who, returning to the mountains where he grew up, begins to reassess and evaluate the

course his life has taken. Two more works, an orchestral tone poem A Song of Islands (1946) and the

Chaconne (1946), find their parallel in the regional paintings of Rita Angus.

PEL06 – iv


In 1947 Lilburn joined the staff at Victoria University College in Wellington and completed several

works that received high critical acclaim, including two symphonies, two piano sonatas, and the

Alistair Campbell song cycle Elegy (1951) – a vision of the titanic indifference of nature.

Lilburn composed the Symphony No.3 (1961), along with Sonatina No.2 (1962) and Nine Short

Pieces for Piano (1965–66), in response to a stimulating period of sabbatical leave. Masterpieces of

concentrated form, these works explore the boundaries of his instrumental writing. From this point

until his retirement, Lilburn chose to take on the new territory of electroacoustic composition.

Lilburn’s final years were spent quietly at home in Thorndon, Wellington, tending to his garden and,

until the onset of arthritis, playing his beloved August Förster piano. He received the Order of New

Zealand in 1988.

Sonata for Piano in F Sharp Minor (1939)

Lento – Allegro ma non troppo e con rubato

Theme and Variations

Completed in London on 7 March 1939 in London, this sonata is a work of pure Romantic sensibility.

The first movement, with its conflicting upheavals, suggests a parallel in private life. The second

movement, a set of variations, seems in so many ways to anticipate Chaconne. Lilburn entitles this

his second sonata but it predates the A minor sonata completed in November 1939. Perhaps Lilburn

is indicating that it followed the juvenile C minor sonata (c.1932) or the lost/unfinished G minor

sonata (1937), of which only the slow movement survives. Lilburn’s attempt to premiere the work

in a student recital at the Royal College of Music (29 June 1939) was aborted by a fit of nerves that

forced him to stop playing. Pianist Colin Horsley told Lilburn afterwards that he particularly liked

what he had heard of the second movement.

‘Poco Lento’ (1960)

This limpid piece is crafted from the two opening bars.

The Young Pine Tree (1945)

This heart- felt piece was composed at the close of the Second World War. The sub-heading reads:

‘The young pine- tree at Diamond Harbour [on Banks Peninsula] dreams of a forest giant in the

North.’ The arch- shaped opening motif represents the pine, while Tane Mahuta (New Zealand’s

famously large kauri tree) speaks in the restorative, deep- rooted response; the smell of sweet pine

seems to waft restoratively.

Hommage à D.A.F. (c.1965)

Captioned ‘Salute to the system!’ this whimsical spoof of the permutations of serial technique

was written to amuse David Andross Farquhar and his composition class at Victoria University of

Wellington; the ‘Vivo’ section irreverently uses the asses bray from Mendelssohn’s A Midsummer

Night’s Dream overture.

PEL06 – v


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Heading the piece, Lilburn writes out the twelve- tone note-row adopted after the ‘Vivo’ fanfare and

to the right of the title he writes out the last six notes of the Inversion, used in the ‘Vivo’ to correspond

with Farquhar’s initials. Furthermore, the series is rich in micro-structures, for example the first six

notes and the second six consist of the same intervals while each row and its retrograde is built as a

palindrome reading from both ends to the middle (looking at the semitones it goes 51226 5 51226

and the retrograde ones are the reverse 62215 5 62215).

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Theme from ‘Variations on a Theme by Douglas Lilburn’ (1948)

Members of the composers’ group at the 1948 Cambridge Summer Music School collectively composed

the Variations on a Theme by Douglas Lilburn. Lilburn, as tutor, provided a theme ripe with

challenges. David Farquhar, Ronald Dellow, Edwin Carr, Dorothea Franchi, Ronald Tremain, and

Larry Pruden supplied variations. Franchi recalled performing the set at the School’s closing concert

‘all except the final variation, which was still being written as I was playing the theme! Larry Pruden

was always late & he ended up by playing his own variation, improvising the end.’

‘Christmas 1942’ (1942)

This is the second of four sets of Christmas pieces gifted to Lawrence Baigent and Leo Bensemann.

It opens with ‘Christmas Piece for a Russian Mystic’ (probably Lawrence Baigent, whom Bensemann

had painted as a ‘Russian Saint’), continuing with ‘Five Preludes’ alive with the imagery of pealing

bells — Lilburn lived in close proximity to Christchurch Cathedral (the fourth appears in Occasional

Pieces), and closing with a quasi-oriental piece for ‘musical box’ subtitled ‘Lin Tang thanks his friends

for a birthday gift’ (presumably Lin/Lilburn received something Chinese).

Robert Hoskins, Palmerston North, 2016

PEL06 – vi


Editorial notes

Sonata for Piano in F Sharp Minor (1939)

The copy-text for this edition is Lilburn’s holograph

in the Alexander Turnbull Library (fMS-

Papers-2483-078).

The composer’s phrasing for the L.H. pattern

established in bar 8 is frequently rather vaguely

positioned. We have regularized it with a short

hangover tie to the first crotchet of the bar, with a

slur under the remaining notes of the bar.

Lilburn’s style in this early sonata is more romantic

than his later music. There is also often a

complexity of ideas and counterpoints which,

although always pianistic, do at times look like the

short score of an orchestral work. Because of this

complexity Lilburn has been more generous with

phrasing than in later works, phrasing which follows

the shapes of his ideas, sometimes between

clefs and hands. This edition retains Lilburn’s

phrasing which is sure to give the performer an

interesting insight into his musical intentions.

‘Poco Lento’ (1960)

The copy-text for this edition is Lilburn’s holograph

in the Alexander Turnbull Library (fMS-

Papers- 7623- 20).

4 L.H. Last beat, the ink ms is smudged here

but it seems probable that the two quavers

are both E’s.

The Young Pine Tree (1945)

The copy- text for this edition is Lilburn’s holograph

in the Alexander Turnbull Library (fMS-

Papers- 3983- 6).

6 The ms has a natural to the E but not to the

G, however it seems probable that Lilburn

intended a C major chord so we have added

a natural to the G.

34–37 L.H. notes and ties with ° sign have been

added to match 43–46.

67 R.H. last note in the ms is F, however we

think it is likely that G was intended.

Hommage à D.A.F. (c.1965)

The copy- text for this edition is Lilburn’s holograph

in the Alexander Turnbull Library (fMS-

Papers-2483- 034).

9 2nd beat we have added a Í to crotchet

which is not in ms but seems probable.

22 Lilburn’s πƒ has been altered to ƒπ.

Theme from ‘Variations on a Theme by

Douglas Lilburn’ (1948)

The copy- text for this edition is Lilburn’s pencil

holograph in the Alexander Turnbull Library (fMS-

Papers-8360- 66), with reference to a manuscript

in the hand of Dorothea Franchi in the Alexander

Turnbull Library (MS- Papers-2483- 028).

18,19 R.H. We have added a crotchet rest for the

3rd beat of the lower part to match a similar

passage in bars 16,17.

‘Christmas 1942’ (1942)

The copy-text for this edition is Lilburn’s holograph

in the Alexander Turnbull Library (fMS-

Papers-3983-2).

Christmas Piece for a Russian Mystic

15 L.H. This bar has too many beats, however

based on the ms alignment we have deleted

dots from the first minim chord.

Five Preludes – Prelude 1

Tenuto stress marks have been added to bars 5/6,

16/17/18/19, 20/21, 28/29/30/31, 32/33 to match

the same music in bars 1/4.

Prelude 2

24,28 L.H. a ˆ has been added to the second

crotchet A which is not in the ms but is

needed to match the R.H.

Prelude 4

This Prelude, clearly a favourite of the composer’s,

was recopied by Lilburn for this Christmas collection.

Compared with the collection in PEL01 it

has here a slightly different marking, Allegro, and a

different mm of Π= 132.

Rod Biss, Auckland, 2016

PEL06 – vii


Publisher’s note

In the early 1940s Douglas Lilburn established what become lifelong friendships with a number of artists, writers

and poets in Christchurch who, along with Lilburn, were instrumental in establishing a genuine vernacular for the

arts in New Zealand. Notable among this circle were Lilburn’s close friends and fine artists Rita Angus and Leo

Bensemann, both of whom shared an exchange of artistic influence with Lilburn. Care was taken in the Recorded

series to present Lilburn among his contemporary artists with each volume featuring a selection of Bensemann’s

landscape paintings on the cover along with paintings by Rita Angus inside the full-colour booklets. Similarly,

we have chosen to feature Bensemann’s Rain in the Paradise Garden, Takaka on the front cover of our series of

publications to provide a sense of unity with the Recorded series. We therefore acknowledge the generous support

of the Bensemann Estate.

The Publisher also gratefully acknowledges the assistance from the Alexander Turnbull Library, Rod Biss, Guy

Donaldson, Claire Harris, Dr Robert Hoskins, Michael Houstoun, the Lilburn Trust, Massey University, and the

HRL Morrison Music Trust in the publication of this edition. This sixth volume of the edition has been funded

by Creative New Zealand.

Promethean Editions, Wellington, 2016

PEL06 – viii


PEL06 – ix


The first page of the composer’s manuscript of Sonata for Piano in F Sharp Minor.

(Reproduced by permission of the Alexander Turnbull Library, Douglas Gordon Lilburn Papers fMS-Papers-2483-078)

PEL06 – x


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C C

W W C W C

C

C

W C C C

ten.

X C

X C

X X C C C C S

più rit.

! W W W Allegro non troppo W C W X X

X W C

W C C X C

X C

Y

W C X C X C XXX

O

C X C W C

sf

mf

C C X

# W W

W

C C Y

CC

C

Y

X Y C C C

O

W

O

W

W

Y O

X C C Y CC

C WX C

X X C C C C S

Y

C

C

G

X C X C

X C X C

G X C

C X C

X C C C

C CG

C

Y

X

PEL06 – 3

PEL06 – 3


C

C

C

C

B

C

C

B

C

C

C

C

C

C

C

C

C

C

C

C

C

B

C

h

C

C

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C

g

C

C

C

C

C

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C

C

C

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C

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C

C

C

C

CC

C

C

C

C

C

C

C

C

C

C

C

C

C

C

C

C

C

C

S

C

C

B BB

C

B

B

C

C

C C

C

C

C

C

C

C

C

C

C

C

C

C

C

C

C

C

C

CC

C

C

S

C

CB

C

C

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B

C

B

C

C

C

C

T

C

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C

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C

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C

C

C

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C

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S

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C

C

C

C

C

#

68

! W W W S

p

# W W

W

Y

Y

Y

X C

C

Y

Y

C C

C C C C C

Y

C C

Y

Y

X C

W X C C

X W C C

Y C C C C

G

XY BB

C X C

XY CC

Y C Y Y C C C C C C

Y

X

Y

X C C

Y

Y

Y B B

più cresc.

Y

C C C C C

72

! W W W Y

C C

# W W

W

Y

X C C

X

Y

C C O

C C C C C

X

CCC

W

VW

W

V C

WW C

C W C

CCB

W B S

C C C C C X C

C

C

G

C C

C C

X

X

f

X

O

X

C

C

X

X

C

C

C

C

C C

X

76

! W W W W C T C C C

Ċ

C C X C C C

W C

W

C X C W C C X C

X C X C

C C C C Y C X C W C W B W C W C B

piùf

sfz

C

Y

# W W

W

W

Y C C XXX B W C C

O

X

W C X C C

Y

X C X C.

80

! W W W S

84

88

mf

# W W

W

X

X

! W W W Y

Y C

Y C

sff

# W W

W

X

C

C

X

X C

X C

X

X

C

C

Y

C C

X C C W C C W C

Y C X C

C C C C C

W C W C

W C C C

W C C C

YX CC

G

X CC CC C C C

C C S

Y

X

Y

C C

X C

cresc.

S

più rit.

C CC

C

C

X

X X C C C X C

X C C C C

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G

X X C C

C W C

C S

C C

C

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WG C

C

C

X

Y C

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W C CC

X CC

X C T C C

YY C

Y

C C

cresc. molto

Y

C

C

Y

liberamente

! W W W ?

a tempo

#

X - C X S S C- C X C

C BB S C

X BB A

- C C

X C CC

pp

pp

cresc.

# W W

W

O C C C C C C C C C

C

W C

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¯

fff

C - C C

I

X B B

X B

!

Y CC

Y

C C

mf

C C

!

Y C C

C C

Y C

C

W

W -

C C C

I

C C

Y C

C

PEL06 – 4 PEL06 – 4


-C

-C

C

B

B

CC

CC

C

C

C

C

C

C

C

C

C

C

C

CC

C

C

C

C

C

C

C

C

C

C

CC

C

C

C

C

C

C

C

C

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C

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C

C

C

C

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C

g

C

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C

C

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BC

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¯

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C

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B

B

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C

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CC

C

C

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C

C

C

C

B

C

C

C

C

C

C

C

C

-

S

C

C

S

C

C

C

C

?

CC

C

C

C

C

C

C

allarg.

! W W W W C C

C C

W C C C C C C

C C W C C

I a tempo

W C

C BB

C

C C

C W C B C

C C

mf

sfz

- C C W C C C C CCG

C C W C C

fff I

# W W

W

W

W C C C W C - W C C C - C C C C

C C W X C

93

X CC CC

X

X

mf

C C C

X C

X

97

! W W W S

# W W

W Y Y C C

101

! W W W C -

C W C

105

# W W

W

X C

C C -

C C

X C

C

-

cresc. poco a poco

X C C C

X C C C C

meno mosso

X

C C

C

X C C C C C CCB X C XY CC

G >

C C C C C

C C

X C C Y

X C O

C C X C C C

! W W W Y X C C Y C C

X C X CC X O C C

CC

Y C

X C

C

C Y Y Y C C X C X X X X CC

p

# W W

W X Y C X C Y C

Y CC B X C X

C

C

Y

Y

Y B

B Y

B B

C

C

X CC

C C S

Y C

Y C

W

W C -

C C C

C Y X C X C C C CC C C

C

C C

C

W C C -

W

C-C C C

più rit.

CCC C CC C

Y C C C CC C

B Y C Y C C X

CC

C Y

C C C

sfz

sffz ¯

X C C

X

C

- C

G

?

XY CC

CC

Y C C Y

Tranquillo e sempre meno vivo

Y C Y C

Y C YGC

pp

Y C

Y C

Y

C

C

Y

Y

Z

Z C X C Z C YY

C

espressivo

YX

C X C

Y Y

B C X C

! W W W X C Y

X C B C C X C W C

X O

W X

C Y C C C X X C C

X O

W O C B

X B

S T C

# W W

W X

X BB

X X C C

B

X

X X

C

X B C C

C C C

109

113

! W W W C C C

C C

X

C X - C X

X

X X C-

I

-C

# W W

W

X C C B O

I

C C C C C

X -C

X C

C CC C W C Y C

Y

X

X

Y

O

O

Y

Y

Y

Y

G

X

Y

pp

C C C

PEL06 – 5 PEL06 – 5


-

C B

C

C

C

C

C

C

C

C

B

B

B

C

C

C

C

C

C

C

C

C

C

C

C

C

C

C

C

C

C

g

C

C

C

C

C

C

C

C

C

C

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C

C

C

C

C

C

C

C

C

C

C

C

B

C

C

C

C

B

C

C

C

C

C

C

C

C

B

C

C

?

C

C

C

C

C

S

B

C

CC

C

C

C

CC

CC

C

C

C

C

BC

B

B

B

C

C

CC

h C

B

B

B

C

C

CB

B

C

C

C

C

C

C

C

C

C

C

C

C

CC

C

C

C

#

C

C

C

C

C

C

h

C

C

C

C

h C

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CC

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B

C

C

?

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B

T

B

C

B

B

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C

C

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CC

h

C

C

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B

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C

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CC

C

CB

C

C

C

C

C

C

C

C

g

C

C

C

C

116

! W W W X O

X X Y X Y B #

C

Y

Y C Y B

Y

C C Y C Y X YX O

S T Y C

Y

ppp

# W W

W Y C

Y

X

Y

Y Y Y

B B Y

O

C B Y

Y O C Y C

Y Y

Y

120

# W W

W

Y Y Y I

!

Y Y C

X Y C - Y Y

Y

Y

Y

Y Y C - Y Y

Y Y

C C X YX

O

!

Y I

Y C

C C C

-

- Y Y

ppG

# W W

W

Y C

Y C Y

Y Y

X

C X C C C C

Y Y O

X

123

127

! W W W -

B O

Y C W C X C X C B C O X B

X

C C X C C C X BBOO

C C B O

ppp

mp

X B

# W W

W X O

X O B

# X C

!

X

X C

O C X

X X

! W W W O C C W C W CC

X C CC X CC Y CC Y C C

W C C C X CC O

pp

# W W

W

C C C X C C C C X X C C C ? C C C X CC

X C

131

136

! W W W C W CC X CC CC BB CC XY CC Y C C

X CC O

X

pp

# W W

W C

C C X X C C C C BBOO

X

! W W W W B B C W C C B

# W W

W C OW C C S

W

p

X

C

C

W C C C

C

C

W C C C

W C O

C

C

C

C

C C C

C-C W C C- C C- W C B- O

al niente

ppp

O

C C C

C O

C X CC

W C C S

Tempo I

C C C

O

mf

O

¯

O

X

X

C C X C

CC

C

C X C

C

CC

C C

W W C C

W C

C C C¯

PEL06 – 6 PEL06 – 6


!

!

!

C

C

C

C



C

C

CC

C

B

C

C

C

C

g

C

C

h

B

g

C

C

C

C

B

B

C

S

!

C

C

-

B

!

C


B

B


B

C

C

S

C

h

C

h

B

C

h

h

h

CCCĊ

C

BBBḂ

C

C

S

C

C

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C

C

C

C

C

Ċ

C

C

C

C

B

C

C

?

B

BB

g

C

g

C

C

C

C

C

B

S

CC

B

C

C

C

C

Theme and Variations

Moderato

# W W

W ĊCḂ 44 : B

Ċ C

Ċ C

Ḃ B

Ċ C

Ċ W C C C W C C C C C C Ċ C

Ḃ B

Ċ C

Ċ C Ḃ B

! O

p sostenuto

# W W

W 44 S : R S C O C O

O

C

II

C A C C C C B

più cresc.

C O

C B O ĊC

7

W W

W

# : :

C OO h j C C C C O

C B

p

# W W

W W Ḃ B Ċ C Ċ C

Ḃ B S : : R S

ĊCḂ B

Ċ C

Ċ C Ḃ B ĊC Ċ C Ḃ B

W C C

C O

C B O

C O

C B O

12

# W W

W

CCC W C CC CC ĊC ḂB ĊC ĊC ḂB ĊC

.

C

X C CĊ

CC :

cresc.

f p

# W W

W W

O

# ig

O C C

! :

X O

OO C O

C B¯

17 poco recitativo

# W W

W Q

! R B- B B- C C

23

!

27

!

W W

W

W CC

C

C

W W W C C C C C O

C C

C C

pp

CC

BB W ĊC W ĊC ḂB CC C

C C C C C

G

più cresc.

C C C C C O

C C

W C CC CC W CC

C C C C A t W C C

X

C C C C

W BB W C C C O

C B X B

rit.

C C C C-

C-C- C-

W W

W

#

CCC W C C C C C C C B BB O C C

C A C O

W W

W YX C

X

# W W

W

Y

X C

CC

Y

X

X

C X C C W CC BB

C X C

W

-

a tempo

C B

C C

C C C C At

YY AA

X

X

C

W C C

pp

CC CC CC CC CC BB CC

C O

X

Y -B

O

O

O

t

B

C C

poco meno

mosso

Y

pp

C C X

C B X B

Y

t

B

C C

PEL06 – 7 PEL06 – 7


CC

CCC

C

C

C

C

CC

h

g

C

h

CC

Ċ

h

Ċ

C

C

C

C

Ċ

C

Ċ

C

C

h

C

C

C

Ċ

Ċ

g

C

CC

h

C

C

C

Ċ

C

CC

C

C

C

C

C

C

h

C

C

C

C

C

C

C

h

C

C

C

C

C

C

C

C

C

C

C

g

C

C

h

C

C

C

C

C

C

C

C

C

C

g

C

C

C

C

C

C

g

C

C

C

C

Ċ

Ċ

g

C

C

C

Ċ

Ċ

C

g

C

C

C

Ċ

Ċ

C

CC

C

g

C

32

! W W W C X C C C C C C C C C C W C

Y C Y C

CCC X

W C C C Y Y C C X Y C X X C X

#

X

cresc. poco a poco

! W W W #

W X C C C C C C C C C

C X

X C

C C C W C C -

g

C-C X -

36

Allegro Vivace

# W W

W

X C O

C C C

- W C.

! C

C C C

- - - -

X O

W CCC Y C X

C

C C C W C C C Ċ C Ċ C Ċ C C C Ċ C Ċ C

C C C C C C C C C

ff

dim.

ppp leggiero con pedale

# W W

W

Y

W W

O Y C C

X

B O

A

A

A

rit.

Y C -

40

! W W Ċ C C C C C

C Ċ C Ċ C Ċ C C C Ċ C Ċ C Ċ C C C Ċ C Ċ C Ċ C C C C C

C Ċ C Ċ C

# W W

A

A

R

A

C B

B

A

R

43! W W C C C C Ċ Ċ C O

C X C

Ċ

# W W T C C C Y CC

C

h

Y

X C C X C. C Y C

cresc.

X

X

S

Y

X C C S

X

Y

X

C >

C C C C C C

dim.

C C C C C Ċ C Ċ C

C. C.

C. C.

C. C.

C. C.

46

! W W Ċ

C C C C C

C Ċ C Ċ C Ċ C C C Ċ C Ċ C Ċ C C C Ċ C Ċ C Ċ C C C C C

C Ċ C Ċ C

pp

# W W

A

R

A

C B

B

A

R

49

! W W Ċ C C C C . C C C C C C C Ċ C

X .

X

Y

X C C . C Y C C C C C C C . C

C. C

C. C C C C . Y C C C C C C C C. C

Y C . C

# W W

X A

Y

Y

BO

BO

PEL06 – 8 PEL06 – 8


Ċ

h

g

C

C

C

g

CC

T

C

T

C

C

C

C

C

S

C

C

C

C

C

C

C

Ċ

C

C

C

C

C

S

>C

g

C

C

Ċ

C

S

C

S

C

S

Ċ

C

g

C

g

C

C

C

C

C

C

C

Ċ

T

C

CC

C

C

C

C

C

C

C

A

C

BB

C

C

C

C

C

Ċ

C

C

Ċ

Ċ

S

C

C

A

S

S

Ċ

Ċ

C

C

C

C

>

BB

BB

C

C

Ċ

C

C

C

52

t

! W W X . Y C C

# C C

C

X C C C C C C C C C A WW O

X C .

!

Y C C C C C C C C C X C C X C Y C X C Y

cresc.

f t

# W W Y C C C C X C C X C Y C C Y C C C !

X C C C C C C C C C

W > W

O

55! W W C . C C C

f

! W W C

C.

brillante

W

eva

W

Ċ C C C

W C C W C

C C

Ċ C C C

C C C

W

C O C X C

XY CC

eva

Y S X C C C

Y

Y

Y

X C C

Y C . X C

Y

Y

C C

W C

W C

C C

58

! W W

{eva}

Y . X C Y

! W W S X C

Y

X C . C

Y

Y

Y C . C

C X C

C C

C Ċ C

Y C . C

C C C C X C

.

X C . C X C

X

X

C C Ċ C C C

C C

eva

C C

X C . C X C

X

C C

C C

! W W

! W W

{eva}

Ċ C C C

X

C C

61

W .

W

C C

W .

W

W C.

W C C C W C

W

C C

C Ċ C Ċ C

C C C C

W .

W

W O

C C Ċ C

W C.

W C.

W C C .

C C W .

63

! W W

Y C.

Y

Y

Y

C C Ċ C C C

C C

Y C.

Y

Y

Y

C C

X C. C X C

X

C C

Ċ C C C S

! W W

Y X

.

T C C C C

C C

Y

Y C T S Y C

X

C X C

! W W C. C C C

66

C C C C C C C C C C C Ċ C Ċ C

dim.

! W W T # Ċ

Y . X C C X C

Ċ

C.

C. C. C

Ċ C C C Ċ C

p

C Ċ C Ċ C

PEL06 – 9 PEL06 – 9


#

#

C

C

C

C

h

S

C

T

T

C

C

C

Ċ

h

C

C

C

C

Ċ

C

C

C

Ċ

h

C

Ċ

C

C

C

T

T

T

S

Ċ

C

h

C

C

CC

Ċ

T

CC

S

C

T

T

C

h

C

h

C

C

C

C

T

T

C


h

C

h

C

C

C

C

C

C

C

S

C

C Ċ

h

T

T

T

C

h

C

C

C

C

C

T

C

S

C

C

C

C

C C

h

C

T

C

C

C

C

h

C

C

C

C

C

C

C

C

C

C

C

T

C

C

C

C

C

68

! W W Ċ C #

C C C C C Ċ C Ċ C C C C C Ċ Ċ O C X C

Y X C X C . C Y C X X Y

cresc.

X

ĊCC

# W C Y C C

X Y

W X C C S

A

71

# C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C

C C C C C

W W . . . . . . . . . . . . . !

f

pp

dim.

C C C

# W W

A A A

A

74

Con brio

! W W C C C C

#

Y Y X X C

4

7 X C : . C

C.

f

# W W R Y Y 4

7 :

B

C. C

B

C.

marcato

Y Ċ C Ċ

g

C.

CC.

C

C.

Ċ

C

C.

g

Ċ

CCĊ C T

CC

C.

CC

C.

X . C C C C

g

X . C C C C

76

#

Y Y ĊCĊ

C. C C Ċ

CCĊ C T X . C C C C 4 Ċ T S X g

!

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PEL06b

‘Poco Lento’ © Alexander Turnbull Library Endowment Trust

This edition © 2016 Promethean Editions Limited PEL06 – 17

ISMN 979-0-67452-129-1


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This edition © 2016 Promethean Editions Limited PEL06 – 18

ISMN 979-0-67452-129-1


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This edition © 2016 Promethean Editions Limited PEL06 – 20

ISMN 979-0-67452-129-1


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ISMN 979-0-67452-129-1

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ISMN 979-0-67452-129-1

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MUSICAL BOX:

Lin Tang Thanks His Friends For A Birthday Gift

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PEL06 – 33 PEL06 – 32


Douglas LilburN

Complete Piano Music Edition • 6

Douglas Lilburn occupies a pre-eminent position in

New Zealand music, with a legacy extending well

beyond his compositional output. As a composer,

teacher and mentor he presided in innumerable

ways over the artistic growth of New Zealand from

1940 onwards. From the early works redolent of

the influence of Sibelius and Vaughan Williams, to

the electro-acoustic pieces of his later years, his works have been instrumental

in establishing a genuinely vernacular voice in New Zealand classical music. In

2005 Trust Records launched the first volume in the award-winning recording

series showcasing all of Lilburn’s piano music receiving ‘Best Classical Album’

in the 2005 Recording Industry of New Zealand Music Awards and in the same

year, Gramophone acclaimed that ‘[These] performances and recordings are

unobtrusively excellent.’

This edition is the sixth of eight companion volumes to accompany the

recorded series and draws on the expertise of Dr. Robert Hoskins of Massey

University and Rod Biss, formerly of Schott London, Faber Music and Price

Milburn Music, who was instrumental in first publishing Lilburn’s piano music

in the 1970s. Having worked with Lilburn directly on these early publications,

Biss has now revisited original source materials in the preparation of this

series. Together, the editors have carefully considered and clarified Lilburn’s

manuscripts and early publications in preparing these volumes as both scholarly

and practical editions for performance.

The publication of this sixth volume of the Douglas Lilburn Complete Piano Edition is funded by

Creative New Zealand. The publisher also gratefully acknowledges the support of the Lilburn Trust,

the HRL Morrison Music Trust and Massey University in the publication of this edition.

ISMN 979-0-67452-129-1

Promethean Editions Limited

PO Box 10-143

Wellington New Zealand

www.promethean-editions.com

Lilburn Trust

DOUGLAS LILBURN Complete Piano Music Volume 6 PEL06

Sonata for Piano in F Sharp Minor (1939) • ‘Poco Lento’ (1960) • The Young Pine Tree (1945)

Hommage à D.A.F. (c.1965) • Theme from ‘Variations on a Theme by Douglas Lilburn’ (1948)

‘Christmas 1942’ (1942)

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