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Douglas LilburN <strong>Piano</strong> <strong>Music</strong> 6<br />

VOLUME 5<br />

Works for String Orchestra


Douglas LilburN<br />

<strong>Complete</strong> <strong>Piano</strong> <strong>Music</strong> Edition<br />

Volume 6


Douglas Lilburn <strong>Complete</strong> <strong>Piano</strong> <strong>Music</strong> Edition<br />

Volume 6 (PEL06)<br />

Sonata for <strong>Piano</strong> in F Sharp Minor (1939) © Alexander Turnbull Library Endowment Trust<br />

‘Poco Lento’ (1960) © Alexander Turnbull Library Endowment Trust<br />

The Young Pine Tree (1945) © Alexander Turnbull Library Endowment Trust<br />

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

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

Library Endowment Trust<br />

‘Christmas 1942’ (1942) © Alexander Turnbull Library Endowment Trust<br />

The copyrights of Douglas Lilburn’s music are owned by the Alexander Turnbull Library<br />

Endowment Trust. Royalties from Douglas Lilburn’s music are paid to the Lilburn Trust for<br />

the fostering and preservation of New Zealand music.<br />

This edition © 2016 Promethean Editions Limited<br />

Publisher: Ross Hendy<br />

Series Editor: Robert Hoskins<br />

<strong>Music</strong> Editor: Roderick Biss<br />

<strong>Music</strong> Typesetter: Ben Woods<br />

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

oil on hardboard, 575 x 605 mm. Collection of Christchurch Art Gallery<br />

Te Puna O Waiwhetu. Reproduced by permission of the estate of the artist.<br />

Photograph: Douglas Lilburn Collection, Alexander Turnbull Library, PAColl-2547-01<br />

ISBN 978-1-877564-65-9 (print)<br />

ISBN 978-1-77660-526-2 (eBook)<br />

ISMN 979-0-67452-129-1<br />

Promethean Editions Limited<br />

PO Box 10-143<br />

Wellington<br />

NEW ZEALAND<br />

http://www.promethean-editions.com<br />

No part of this publication may be reproduced in any form or by<br />

any means without permission in writing from the Publisher.<br />

Promethean Editions would like to thank Creative New Zealand<br />

for a grant made toward the publication of this volume.<br />

rhlm


Douglas LilburN<br />

<strong>Complete</strong> <strong>Piano</strong> <strong>Music</strong> Edition<br />

Volume 6<br />

FOREWORD<br />

Douglas Lilburn biography<br />

Editorial notes<br />

iv<br />

vii<br />

MUSIC<br />

SONATA FOR PIANO<br />

IN F SHARP MINOR (1939) 1<br />

‘Poco Lento’ (1960) 17<br />

The Young Pine Tree (1945) 18<br />

Hommage à D.A.F. (C.1965) 20<br />

THEME FROM ‘VARIATIONS ON A<br />

THEME BY DOUGLAS LILBURN’ (1948) 22<br />

‘Christmas 1942’ (1942) 24<br />

PEL06 – iii


FOREWORD<br />

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

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

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

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

his works have been instrumental in establishing a genuinely vernacular voice in New Zealand classical<br />

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

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

Industry of New Zealand <strong>Music</strong> Awards and in the same year, Gramophone acclaimed that ‘[These]<br />

performances and recordings are unobtrusively excellent.’<br />

This edition is the sixth of eight companion volumes to accompany the recorded series and draws<br />

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

formerly of Schott London, Faber <strong>Music</strong> and Price Milburn <strong>Music</strong>, who was instrumental in first<br />

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

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

Together, the editors have carefully considered and clarified Lilburn’s manuscripts and early publications<br />

in preparing these volumes as both scholarly and practical editions for performance, and<br />

presented with the exacting and elegant house style of Promethean Editions.<br />

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

Exceptions are specified in the notes.<br />

Biography<br />

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

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

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

under the aegis of Ralph Vaughan Williams at the Royal College of <strong>Music</strong> in London, conjures up the<br />

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

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

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

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

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

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

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

artist.<br />

Returning to Christchurch, Lilburn banded together with an innovative group of painters, poets and<br />

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

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

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

bachelor who, returning to the mountains where he grew up, begins to reassess and evaluate the<br />

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

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

PEL06 – iv


In 1947 Lilburn joined the staff at Victoria University College in Wellington and completed several<br />

works that received high critical acclaim, including two symphonies, two piano sonatas, and the<br />

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

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

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

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

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

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

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

Zealand in 1988.<br />

Sonata for <strong>Piano</strong> in F Sharp Minor (1939)<br />

Lento – Allegro ma non troppo e con rubato<br />

Theme and Variations<br />

<strong>Complete</strong>d in London on 7 March 1939 in London, this sonata is a work of pure Romantic sensibility.<br />

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

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

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

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

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

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

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

what he had heard of the second movement.<br />

‘Poco Lento’ (1960)<br />

This limpid piece is crafted from the two opening bars.<br />

The Young Pine Tree (1945)<br />

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

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

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

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

seems to waft restoratively.<br />

Hommage à D.A.F. (c.1965)<br />

Captioned ‘Salute to the system!’ this whimsical spoof of the permutations of serial technique<br />

was written to amuse David Andross Farquhar and his composition class at Victoria University of<br />

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

Night’s Dream overture.<br />

PEL06 – v


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

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

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

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

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

and the retrograde ones are the reverse 62215 5 62215).<br />

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Theme from ‘Variations on a Theme by Douglas Lilburn’ (1948)<br />

Members of the composers’ group at the 1948 Cambridge Summer <strong>Music</strong> School collectively composed<br />

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

challenges. David Farquhar, Ronald Dellow, Edwin Carr, Dorothea Franchi, Ronald Tremain, and<br />

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

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

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

‘Christmas 1942’ (1942)<br />

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

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

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

bells — Lilburn lived in close proximity to Christchurch Cathedral (the fourth appears in Occasional<br />

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

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

Robert Hoskins, Palmerston North, 2016<br />

PEL06 – vi


Editorial notes<br />

Sonata for <strong>Piano</strong> in F Sharp Minor (1939)<br />

The copy-text for this edition is Lilburn’s holograph<br />

in the Alexander Turnbull Library (fMS-<br />

Papers-2483-078).<br />

The composer’s phrasing for the L.H. pattern<br />

established in bar 8 is frequently rather vaguely<br />

positioned. We have regularized it with a short<br />

hangover tie to the first crotchet of the bar, with a<br />

slur under the remaining notes of the bar.<br />

Lilburn’s style in this early sonata is more romantic<br />

than his later music. There is also often a<br />

complexity of ideas and counterpoints which,<br />

although always pianistic, do at times look like the<br />

short score of an orchestral work. Because of this<br />

complexity Lilburn has been more generous with<br />

phrasing than in later works, phrasing which follows<br />

the shapes of his ideas, sometimes between<br />

clefs and hands. This edition retains Lilburn’s<br />

phrasing which is sure to give the performer an<br />

interesting insight into his musical intentions.<br />

‘Poco Lento’ (1960)<br />

The copy-text for this edition is Lilburn’s holograph<br />

in the Alexander Turnbull Library (fMS-<br />

Papers- 7623- 20).<br />

4 L.H. Last beat, the ink ms is smudged here<br />

but it seems probable that the two quavers<br />

are both E’s.<br />

The Young Pine Tree (1945)<br />

The copy- text for this edition is Lilburn’s holograph<br />

in the Alexander Turnbull Library (fMS-<br />

Papers- 3983- 6).<br />

6 The ms has a natural to the E but not to the<br />

G, however it seems probable that Lilburn<br />

intended a C major chord so we have added<br />

a natural to the G.<br />

34–37 L.H. notes and ties with ° sign have been<br />

added to match 43–46.<br />

67 R.H. last note in the ms is F, however we<br />

think it is likely that G was intended.<br />

Hommage à D.A.F. (c.1965)<br />

The copy- text for this edition is Lilburn’s holograph<br />

in the Alexander Turnbull Library (fMS-<br />

Papers-2483- 034).<br />

9 2nd beat we have added a Í to crotchet<br />

which is not in ms but seems probable.<br />

22 Lilburn’s πƒ has been altered to ƒπ.<br />

Theme from ‘Variations on a Theme by<br />

Douglas Lilburn’ (1948)<br />

The copy- text for this edition is Lilburn’s pencil<br />

holograph in the Alexander Turnbull Library (fMS-<br />

Papers-8360- 66), with reference to a manuscript<br />

in the hand of Dorothea Franchi in the Alexander<br />

Turnbull Library (MS- Papers-2483- 028).<br />

18,19 R.H. We have added a crotchet rest for the<br />

3rd beat of the lower part to match a similar<br />

passage in bars 16,17.<br />

‘Christmas 1942’ (1942)<br />

The copy-text for this edition is Lilburn’s holograph<br />

in the Alexander Turnbull Library (fMS-<br />

Papers-3983-2).<br />

Christmas Piece for a Russian Mystic<br />

15 L.H. This bar has too many beats, however<br />

based on the ms alignment we have deleted<br />

dots from the first minim chord.<br />

Five Preludes – Prelude 1<br />

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

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

the same music in bars 1/4.<br />

Prelude 2<br />

24,28 L.H. a ˆ has been added to the second<br />

crotchet A which is not in the ms but is<br />

needed to match the R.H.<br />

Prelude 4<br />

This Prelude, clearly a favourite of the composer’s,<br />

was recopied by Lilburn for this Christmas collection.<br />

Compared with the collection in PEL01 it<br />

has here a slightly different marking, Allegro, and a<br />

different mm of Π= 132.<br />

Rod Biss, Auckland, 2016<br />

PEL06 – vii


Publisher’s note<br />

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

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

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

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

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

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

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

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

of the Bensemann Estate.<br />

The Publisher also gratefully acknowledges the assistance from the Alexander Turnbull Library, Rod Biss, Guy<br />

Donaldson, Claire Harris, Dr Robert Hoskins, Michael Houstoun, the Lilburn Trust, Massey University, and the<br />

HRL Morrison <strong>Music</strong> Trust in the publication of this edition. This sixth volume of the edition has been funded<br />

by Creative New Zealand.<br />

Promethean Editions, Wellington, 2016<br />

PEL06 – viii


PEL06 – ix


The first page of the composer’s manuscript of Sonata for <strong>Piano</strong> in F Sharp Minor.<br />

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

PEL06 – x


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This edition © 2016 Promethean Editions Limited PEL06 – 1<br />

ISMN 979-0-67452-129-1


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PEL06 – 33 PEL06 – 32


Douglas LilburN<br />

<strong>Complete</strong> <strong>Piano</strong> <strong>Music</strong> Edition • 6<br />

Douglas Lilburn occupies a pre-eminent position in<br />

New Zealand music, with a legacy extending well<br />

beyond his compositional output. As a composer,<br />

teacher and mentor he presided in innumerable<br />

ways over the artistic growth of New Zealand from<br />

1940 onwards. From the early works redolent of<br />

the influence of Sibelius and Vaughan Williams, to<br />

the electro-acoustic pieces of his later years, his works have been instrumental<br />

in establishing a genuinely vernacular voice in New Zealand classical music. In<br />

2005 Trust Records launched the first volume in the award-winning recording<br />

series showcasing all of Lilburn’s piano music receiving ‘Best Classical Album’<br />

in the 2005 Recording Industry of New Zealand <strong>Music</strong> Awards and in the same<br />

year, Gramophone acclaimed that ‘[These] performances and recordings are<br />

unobtrusively excellent.’<br />

This edition is the sixth of eight companion volumes to accompany the<br />

recorded series and draws on the expertise of Dr. Robert Hoskins of Massey<br />

University and Rod Biss, formerly of Schott London, Faber <strong>Music</strong> and Price<br />

Milburn <strong>Music</strong>, who was instrumental in first publishing Lilburn’s piano music<br />

in the 1970s. Having worked with Lilburn directly on these early publications,<br />

Biss has now revisited original source materials in the preparation of this<br />

series. Together, the editors have carefully considered and clarified Lilburn’s<br />

manuscripts and early publications in preparing these volumes as both scholarly<br />

and practical editions for performance.<br />

The publication of this sixth volume of the Douglas Lilburn <strong>Complete</strong> <strong>Piano</strong> Edition is funded by<br />

Creative New Zealand. The publisher also gratefully acknowledges the support of the Lilburn Trust,<br />

the HRL Morrison <strong>Music</strong> Trust and Massey University in the publication of this edition.<br />

ISMN 979-0-67452-129-1<br />

Promethean Editions Limited<br />

PO Box 10-143<br />

Wellington New Zealand<br />

www.promethean-editions.com<br />

Lilburn Trust<br />

DOUGLAS LILBURN <strong>Complete</strong> <strong>Piano</strong> <strong>Music</strong> Volume 6 PEL06<br />

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

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

‘Christmas 1942’ (1942)

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