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Douglas LilburN <strong>Piano</strong> <strong>Music</strong> 1<br />

VOLUME 5<br />

Works for String Orchestra


Douglas LilburN<br />

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

Volume 1


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

Volume 1 (PEL01)<br />

Sonata (1949) © Alexander Turnbull Library Endowment Trust<br />

Four Preludes (1942–44) © Alexander Turnbull Library Endowment Trust<br />

Two Christmas Pieces for L.B. (1949) © Alexander Turnbull Library Endowment Trust<br />

Allegro (1948) © Alexander Turnbull Library Endowment Trust<br />

Four Preludes (1948–60) © Alexander Turnbull Library Endowment Trust<br />

Rondino (1952) © Alexander Turnbull Library Endowment Trust<br />

Two Preludes (1951) © Alexander Turnbull Library Endowment Trust<br />

Andante (1950) © Alexander Turnbull Library Endowment Trust<br />

Poco lento (1956) © Alexander Turnbull Library Endowment Trust<br />

Three Bars for M.N. (1968) © Alexander Turnbull Library Endowment Trust<br />

Adagio sostenuto (1944) © Alexander Turnbull Library Endowment Trust<br />

Andante commodo (1973) © Alexander Turnbull Library Endowment Trust<br />

Still <strong>Music</strong> for W.N.R. (1973) © Alexander Turnbull Library Endowment Trust<br />

(First published as a set entitled Occasional Pieces for <strong>Piano</strong>)<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 © 2011 Promethean Editions Limited<br />

Publisher: Ross Hendy<br />

Series Editor: Robert Hoskins<br />

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

<strong>Music</strong> Typesetter: Jared Commerer<br />

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

on hardboard, 575 x 605 mm. Collection of Christchurch Art Gallery Te Puna O Waiwhetu.<br />

Reproduced by permission of the estate of the artist.<br />

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

ISBN 978-1-877564-60-4 (print)<br />

ISBN 978-1-77660-521-7 (eBook)<br />

ISMN 979-0-67452-124-6<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.


Douglas LilburN<br />

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

Volume 1<br />

FOREWORD<br />

Douglas Lilburn biography ..................................................... ii<br />

Editorial notes ..................................................................................... iv<br />

MUSIC<br />

Sonata (1949)....................................................................................... 1<br />

Occasional Pieces for <strong>Piano</strong> (1942–73). 21<br />

Four Preludes (1942–44).......................................................... 21<br />

Two Christmas Pieces for L.B. (1949)..................................... 25<br />

Allegro (1948) ......................................................................... 27<br />

Four Preludes (1948-60)........................................................... 28<br />

Rondino (1952) ...................................................................... 31<br />

Two Preludes (1951)................................................................ 33<br />

Andante (1950) ...................................................................... 37<br />

Poco lento (1956)..................................................................... 38<br />

Three Bars for M.N. (1968) .................................................... 39<br />

Adagio sostenuto (1944)........................................................... 40<br />

Andante commodo (1973)........................................................ 42<br />

Still <strong>Music</strong> for W.N.R. (1973).................................................. 43


FOREWORD<br />

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

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

presided in innumerable ways over the artistic growth of New Zealand from 1940 onwards.<br />

From the early works redolent of the influence of Sibelius and Vaughan Williams, to the<br />

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

genuinely vernacular voice in New Zealand classical music. In 2005 Trust Records launched<br />

the first volume in the award-winning recording series showcasing all of Lilburn’s piano music<br />

receiving ‘Best Classical Album’ in the 2005 Recording Industry of New Zealand <strong>Music</strong> Awards<br />

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

unobtrusively excellent.’<br />

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

draws on the expertise of Dr. Robert Hoskins of Massey University and Rod Biss, formerly<br />

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<br />

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

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

and early publications in preparing these volumes as both scholarly and practical editions for<br />

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

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

movements. Exceptions are specified in the notes.<br />

Biography<br />

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

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

boyhood home as ‘paradise’ and his first major orchestral work, Drysdale Overture (1937),<br />

written while a student under the aegis of Ralph Vaughan Williams at the Royal College of<br />

<strong>Music</strong> in London, conjures up the hills, bush and stream as primal sites of imaginative wonder.<br />

Recalling the impression of Drysdale Overture, Lilburn wrote: ‘I’m left with that lovely Mark<br />

Twain image of Jim and Huckleberry drifting their barge down that great river, looking up<br />

at the stars and wondering “whether they was made, or only just happened.’” Other works<br />

inspired by his nostalgia were two student piano sonatas, a cantata entitled Prodigal Country<br />

(1939), and the Aotearoa Overture (1940), which has become a New Zealand classic.<br />

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

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

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

discovery for narrator and string orchestra, and the song cycle Sings Harry (1953), the musings<br />

of a middle-aged bachelor who, returning to the mountains where he grew up, begins to<br />

reassess and evaluate the course his life has taken. Two more works, an orchestral tone poem<br />

A Song of Islands (1946) and the Chaconne for piano (1946), find their parallel in the regional<br />

paintings of Rita Angus.<br />

PEL01 – ii


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

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

and the 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<br />

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

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

composition.<br />

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

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

Order of New Zealand in 1988.<br />

Sonata (1949)<br />

Allegro<br />

Poco adagio<br />

Allegro assai, vivace<br />

The bracing lyric power of this sonata is established in the hill-shaped contour of the opening<br />

octave statement and the shadowy recesses of the chordal reply. The counterweight thus<br />

provided by chords rebounding from the octaves, creates a resonance or ‘oversound’, which<br />

flows through the first movement, and indeed the entire work. This bold gestural opening,<br />

almost constituting a counter-narrative to the opening paragraphs of Schubert’s <strong>Piano</strong> Sonata<br />

in A minor, D.784, instinctively identifies with the forces of nature and affirms an enduring<br />

passion for life.<br />

The central movement, intensely lyrical rather than starkly dramatic, seems to plough the<br />

earth. The musical core is a lullaby-like theme which wells up out of heart-break. Cut this music<br />

and it will bleed. Yet consolation can be found in the sweet whisper of the closing bars.<br />

If the physical push of the second movement is earthward then the psychical direction of the<br />

finale is skyward; its melodies overbrim without complication to bring the sonata into abundant<br />

fruition.<br />

The composer’s friend and colleague Frederick Page gave the first performance but Margaret<br />

Nielsen, whose pianism helped to shape Lilburn’s voice, established it in the repertory.<br />

‘Occasional Pieces for <strong>Piano</strong>’ (1942-73)<br />

This collection of sketches, studies and personal tributes was assembled for publication in<br />

1975. Written mainly for amateurs, these pieces apprehend the fold of landscape as well as<br />

being rooted in friendship. Poco lento (1956), for instance, flows tidally, while in Still <strong>Music</strong>,<br />

1973 (dedicated to Christchurch doctor William Norris Rogers) and Three Bars for MN, 1968<br />

(Margaret Nielsen), Lilburn speaks in a soft, personal tone.<br />

The first two groups of pieces – Four Preludes (1942–44) and Two Christmas Preludes for L.B.<br />

(1949), were written for Leo Bensemann, an artist, amateur pianist, and Denis Glover’s partner<br />

at Caxton Press (Four Preludes was first published by Caxton Press). Shifting transitions<br />

from light into shadow in the third prelude suggest that Lilburn is contemplating one of<br />

PEL01 – iii


Bensemann’s regional paintings. Christmas bells ring out in the second set.<br />

The Four Preludes (1948-60) and other works in the collection explore the heritage of musical<br />

experiences: Bartók and the Eastern European tradition in the third prelude, for instance,<br />

Chopin’s mazurkas in the fourth, and gypsy bands in the piece entitled Rondino (1952). A<br />

forlorn desolation envelops Andante (1950) and Adagio sostenuto (1944).<br />

In the first of the Two Preludes (1951) Lilburn apparently had in mind the peeping call of the<br />

grey warbler, a small New Zealand bush bird, while the vernal waft of the second prelude is<br />

countered by a disquieting harmonic volatility.<br />

The collection includes the following works: Four Preludes (1942–44), Two Christmas Pieces for<br />

L.B. (1949), Allegro (1948), Four Preludes (1948–60), Rondino (1952), Two Preludes (1951),<br />

Andante (1950), Poco lento (1956), Three Bars for M.N. (1968), Adagio sostenuto (1944), Andante<br />

commodo (1973), and Still <strong>Music</strong> for W.N.R. (1973)<br />

Editorial notes<br />

Robert Hoskins, Palmerston North, 2011<br />

Douglas Lilburn was always very precise in his notation, however, there was a certain individuality<br />

about his manuscript. He would, for example, group quavers so that the performer knew which<br />

one carried an emphasis, instead of grouping them in threes or fours according to the beat<br />

of the time signature. This mannerism can make it difficult to feel the beat of the piece when<br />

there is a syncopation (as there often is in Lilburn), and on occasions he will group quavers in<br />

threes when the piece is Cd which can lead a sight-reader into thinking that the piece is in Fh. The<br />

editors have regularised the groupings according to normal engraving practice.<br />

Lilburn indicated some pedalling, but there are many occasions when there are no indications.<br />

He preferred to signify what he wanted with phrasing marks which appear to start and more<br />

often end in mid-air but his intentions are always clear. There are also often short ties which<br />

appear to be tied to nothing – the effect a harpist would get with a laissez vibrez indication.<br />

Although he never played in public Lilburn was a fine pianist. He also brought to his writing<br />

an awareness of string bowing and his piano music has many examples of phrases with dots<br />

or tenuto marks below them – the marks that would tell a string player that these notes are<br />

to be played with one bow. This was the effect he was after, the notes slightly separated but<br />

understood as though they were in one phrase.<br />

Lilburn was very aware of part writing. However, there are times when a part would cross into<br />

a different stave or a different hand, and on such occasions he was more concerned with the<br />

logic of the music than making sure that each stave had the right number of rests.<br />

The editors have retained all Lilburn’s ties, phrasing, and pedal marks where he gave them, but<br />

have regularised the groupings in the normal way. There are, however, some inconsistencies<br />

and the editors have erred when necessary on the side of keeping to Lilburn’s notation and<br />

have avoided adding rests where they are unnecessary.<br />

PEL01 – iv


Sonata (1949): Allegro<br />

42 Lilburn’s manuscript has the phrase mark and pedal mark as engraved. It would seem<br />

that he wanted the low A to keep sounding.<br />

58 In the manuscript the minim C is not clear – it could be a D, but musical logic suggests<br />

the C.<br />

55-57, 169-170: Lilburn’s manuscript has slightly different phrasings for identical music. We<br />

have preserved what the composer wrote, but in performance it is probable that he<br />

imagined LH and RH in a single phrase (as at bar 169).<br />

128 In Lilburn’s manuscript the third beat semiquavers are not included in either the ending<br />

or beginning phrases as engraved, but context suggests that the new phrase should begin<br />

on the third beat.<br />

Poco adagio<br />

Lilburn placed the two time signatures Cd and Bd together at the start of the movement: we have<br />

changed the time signature as and where it occurs.<br />

Allegro assai, vivace<br />

134-5 When this figure occurs in bars 29-30 Lilburn draws a phrase from the low E in the LH<br />

up to the high E in the RH.<br />

Occasional Pieces for <strong>Piano</strong> Two Preludes (1951)<br />

There are some discrepancies in the first prelude between a photostat of the manuscript in the<br />

possession of the editors and the prelude as engraved in the Price Milburn Edition which we<br />

have used as our source (overleaf). Lilburn was a careful proofreader and he definitely would<br />

have passed the proofs of the PMM copy. We have therefore assumed that this was the piece as<br />

he wanted it to be played.<br />

The points of difference are as follows:<br />

1 Ms has “Allegro, ma lontano” with no mm.<br />

Ms has ø<br />

PMM has “smoothly” added.<br />

Ms has no pedalling indications.<br />

4-8 LH chords are not slurred in ms.<br />

16 “poco cresc.” is one bar earlier in ms.<br />

22 The long slur in RH starts on the first quaver of this bar in ms (not the bar before).<br />

25 Ms has ∆ not ∑.<br />

PEL01 – v


29 Ms has “dim” at this bar (not two bars earlier).<br />

31 Ms has π here (not three bars later).<br />

32/33 Minim B in LH is tied to minim B in next bar with slur extended in ms.<br />

33 Ms does not have π on 3rd beat.<br />

45 Ms has “cresc.” but no crescendo hairpin in the following two bars.<br />

54 The long slur in RH starts on the first quaver of this bar in ms (not the bar before).<br />

57 The long slur in RH starts on the first quaver of this bar in ms (not the bar before).<br />

58 Ms has no diminuendo hairpin.<br />

60 Ms has “dim al fine” but does not have the ∆ marking.<br />

64 Ms time signature is Fd not Cb.<br />

67 Ms time signature is Fd not Cb.<br />

68 Ms has dotted semibreve in both hands, and no minim rest.<br />

Andante Commodo (1973)<br />

We have preserved Lilburn’s grouping of quavers as in this case the composer’s notation shows<br />

so clearly the intended cross rhythms.<br />

16 The manuscript has “poco a poco meno π” which we have changed to “poco crescendo”.<br />

Publisher’s note<br />

Rod Biss, Auckland, 2011<br />

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

of artists, writers and poets in Christchurch who, along with Lilburn, were instrumental in<br />

establishing a genuine vernacular for the arts in New Zealand. Notable among this circle were<br />

Lilburn’s close friends and fine artists Rita Angus and Leo Bensemann, both of whom shared<br />

an exchange of artistic influence with Lilburn. Care was taken in the Recorded series to present<br />

Lilburn among his contemporary artists with each volume featuring a selection of Bensemenn’s<br />

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

booklets. Similarly, we have chosen to feature Bensemenn’s Rain in the Paradise Garden, Takaka<br />

on the front cover of our series of publications to provide a sense of unity with the Recorded<br />

series.<br />

The Publisher gratefully acknowledges the assistance from the Alexander Turnbull Library,<br />

Rod Biss, Claire Harris, Dr Robert Hoskins and financial support from Massey University in the<br />

publication of this edition.<br />

Promethean Editions, Wellington, 2011<br />

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This edition © 2011 Promethean Editions Limited<br />

PEL01 – 43<br />

ISMN M-67542-124-6


Douglas LilburN<br />

<strong>Complete</strong> <strong>Piano</strong> <strong>Music</strong> Edition • 1<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 first of eight companion volumes to accompany the recorded<br />

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

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

who was instrumental in first publishing Lilburn’s piano music in the 1970s.<br />

Having worked with Lilburn directly on these early publications, Biss has now<br />

revisited original source materials in the preparation of this series. Together,<br />

the editors have carefully considered and clarified Lilburn’s manuscripts and<br />

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

editions for performance.<br />

This first volume comprises Lilburn’s highly individual early Sonata (1949)<br />

and a collection of some twenty sketches, studies and personal tributes first<br />

published as Occasional Pieces in 1975. “Rich pickings for any of the new<br />

breed of pianist prepared to reach for the less obvious. They will be rewarded<br />

and so will the listener.” Rob Barnett, <strong>Music</strong>web International.<br />

Promethean Editions Limited<br />

The publisher gratefully<br />

PO Box 10-143<br />

acknowledges the support<br />

Wellington New Zealand<br />

of Massey University in the<br />

www.promethean-editions.com<br />

publication of this edition.<br />

DOUGLAS LILBURN <strong>Complete</strong> <strong>Piano</strong> <strong>Music</strong> Volume 1 • Sonata (1949) • Occasional Pieces (1975) PEL01

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