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Douglas LilburN Piano Music 5

VOLUME 5

Works for String Orchestra


Douglas LilburN

Complete Piano Music Edition

Volume 5


Douglas Lilburn Complete Piano Music Edition

Volume 5 (PEL05)

Chaconne (1946) © Alexander Turnbull Library Endowment Trust

‘Six Pieces’ (1964) © Alexander Turnbull Library Endowment Trust

Three Preludes (1943) © Alexander Turnbull Library Endowment Trust

Fred’s Birthday (1965) © Alexander Turnbull Library Endowment Trust

Rondino for a Birthday (c.1943) © 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 978-1-877564-64-2 (print)

ISBN 978-1-77660-525-5 (eBook)

ISMN 979-0-67452-128-4

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 5

FOREWORD

Douglas Lilburn biography

Editorial notes

iv

viii

MUSIC

Chaconne (1946) 1

‘Six Pieces’ (1964) 25

Three Preludes (1943) 29

Fred’s Birthday (1965) 33

Rondino for a Birthday (C.1943) 34

PEL05 – 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 fifth 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.

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

PEL05 – iv


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.

Chaconne (1946)

In the 1940s Lilburn began to seek inspiration in the South Island landscape for his musical subject

matter. His search resulted in Chaconne, featuring a resonant sixteen-bar theme and thirty-one variations.

He described this to John Thomson in a radio interview as depicting, in a stylised way, the

grandeur and iconic status of West Coast scenery, along with an emotional response to the force of

life he perceived in those surroundings:

I wanted to give some record of a marvellous walk I’d had down on the West Coast …

At about midnight in May 1946 … I suddenly felt absolutely fed up with Christchurch,

and so I caught the night train to Greymouth and arrived there at 6am on a dreadful

morning that looked like the end of the world. But I walked a bit down the coast and

there I could see Mounts Cook and Tasman shining in the distance, and I thought, aha,

I’m going there. It was an absolutely incredible walk because in those days the original

roads were still intact and they took their time getting up hills, winding round corners.

There was dense bush a lot of the way, full of bellbirds in that season and of course the

roads were bounded by those huge banks of ferns and moss – full of colour. It meant a

great deal to me.

The curve and grain of the music create an impressive physical space and when the expatriate New

Zealand pianist Peter Cooper recorded the work in 1954, Lilburn wrote to him ecstatically (Douglas

Lilburn to Peter Cooper, 16 December 1954, Alexander Turnbull Library MS-Papers-7388-38):

From the first notes of the prelude there was a shock of excitement at the sounds you

were making and the way you dealt with the rhythm of those groups of notes, the kick in

the middle of them I mean which gives the life to them. It was exactly right, all of it, and

so was the little one that came next. And after hearing those two can you imagine how

I held my breath and waited for the chaconne to begin … And, Peter, that was exactly

right too, the quality of sound I’d always imagined it should be, and the rhythm moving

nicely with just the right weight and breadth to it. And so it was to the end … it struck

me you gave the final two pages some curious legendary quality, which I hadn’t heard

in them but which pleased me too. It was grand for me to hear all the brilliant bits …

they made the right wash of sound, or glittered as I hoped they might, and the octaves

and their rhythm has just the jagged vivid sound I’d hoped for.

Chaconne opens with a carefully crafted theme that, as Michael Houstoun explains (Michael

Houstoun to Robert Hoskins, 17 March 2010), requires a special dynamic balance of the macrocosmic

and cellular elements in performance:

PEL05 – v


The pianist who takes on the Chaconne will have no technical problems in the opening

bars. It is, by any measure, easy to play. Full attention can therefore be given to purely

musical concerns. Because the opening bars are the basis for the whole work, all the

elements contained in them must signify. This is simply a question of consciousness, of

identity between the pianist and the music. Probably the main danger here will be the

temptation to overplay, over-dramatize. But a mature musician will trust Lilburn to

keep things simple.

Margaret Nielsen, in a lecture she delivered at Massey University in 2003, observed Lilburn was

an able pianist who played Bach, Haydn, Beethoven, Schubert, and Chopin on a daily basis: ‘When

playing Lilburn’s piano music, I’ve always had the feeling that it has been composed by someone

who really knows how it feels to play this instrument, and who understands just what the piano can

give back to the pianist.’ With this statement in mind, Chaconne might be heard as Lilburn pledging

allegiance to the piano repertory, reaching back from Ravel and Rakhmaninov through to Bach.

Certainly, one can hear the intonations of the European tradition that inspired this work, for example

Beethoven’s Thirty-two Variations in C minor and the Chaconne in Bach’s Partita in D Minor for

solo violin, BWV 1004, which Lilburn says (in a written tribute to the violinist Maurice Clare) he

copied out ‘trying to emulate the wonderful rhythmic flow of Bach’s imagination, reminding me of

older Chinese paintings of rivers, and so humanly expressive’. If Bach’s violin figuration (doublestopping,

open string passagework, point-of-bow rhythm and string-crossing broken chords) seems

to have inspired Lilburn’s piano writing, we also know that he explored the process of the chaconne

in Brahms’s Fourth Symphony and ‘St Anthony’ Variations with his students. The arch-like design of

Chaconne is marked by the symmetrical return of the opening statement at the middle and the end,

and Lilburn groups some of the variations in pairs to provide a sense of middle-ground coherence.

‘Six Pieces’ (1964)

There is something Bartókian about the way the music observes eternal metamorphosis at work –

even in the space of a few bars.

Three Preludes (1943)

Andante ma con moto

Allegro con brio

Adagio ma non troppo

These pieces are dedicated to Frederick Page, a pianist and champion of Lilburn’s music. Page

mounted the first concert entirely devoted to Lilburn’s music in September 1943 and this set may

have been composed in gratitude. The first has a tinge of Schubert, the others of Rakhmaninov.

Fred’s Birthday (1965)

This wacky piece was composed for Frederick Page; it spotlights Page’s personality as an extroverted

advocate of contemporary music and Darmstadt. One can almost hear a skew-whiff version of the

tune ‘Happy Birthday’ even though it is not directly quoted.

Rondino for a Birthday (c.1943)

This piece, composed for Lawrence Baigent, ends with a roosterly voicing of the ‘Happy Birthday

to you!’ motif.

PEL05 – vi

Robert Hoskins, Palmerston North, 2016

The first page of the composer’s manuscript of Chaconne.

(Reproduced by permission of the Alexander Turnbull Library, Douglas Gordon Lilburn Papers fMS- Papers-2483-010)


Editorial notes

Chaconne (1946)

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

in the Alexander Turnbull Library (fMS-

Papers-2483-010) published in facsimile by the

University of Otago Press in 1972, with reference

to the Waiteata Music Press edition published in

2005.

Trill signs: Lilburn writes trills with a wavy extension

line following the ‘tr’, we have, however,

dispensed with the wavy line in accordance with

house style.

Accidentals: A constant feature of the Chaconne’s

harmony is the number of semitonal clashes, in

particular between GÍ and Gˆ. The editors have

added a cautionary natural to the G in bar 5, but

from that point on the performer should assume

that accidentals apply only to the bar and at the

pitch where they occur.

Grace notes: Lilburn writes grace notes that occur

on the first beat of the bar before the bar-line. We

have moved them to the usual position after the

bar line, however, it is clear from Lilburn’s notation

that the grace-notes anticipate the beat on which

the main note is played.

5–6 Slur on RH lower voice added.

98 RH slur added.

112–115 Lilburn places a ° sign under the second

beat of bar 112, however, he does not indicate

where the pedal is lifted. It seems likely

he wanted it held to the end of bar 115 as

in our edition.

122 Slurs on second two groups added.

124 Slurs added.

315 Final semiquaver LH is amended to EÏ/F

from D/EÏ in the holograph.

337–441 In these six bars Lilburn has indicated

only one pedal mark, down at the start of

336 lifted at the end of 337. He has, however,

added hangover ties to the semibreve A’s

in 337 which indicate that he wants those

low notes to be heard through the following

bar. Although there is no pedal mark in the

holograph for 339 it is clear from the music

that the same effect is intended for 339–40.

371 The BÍ on the third beat of the RH has

been queried by some performers who

believe that Lilburn intended a CÍ, however,

we have retained the holograph’s BÍ in our

edition as it seems to the editors to be in

keeping with the patterns Lilburn has established.

498 Whole bar rest added.

‘Six Pieces’ (1964)

The copy-text for this edition is from a folder

of holograph piano pieces and sketches

in the Alexander Turnbull Library (fMS-

Papers-2483-052); the order of these pieces conforms

to the Trust Records recording.

Time Signatures: In Pieces 1 and 2 Lilburn does

not give a time signature, however, the grouping of

notes and position of barlines will give performers

a feeling for the pulse of these two pieces. In Piece

6 the holograph has time signatures above the

stave which indicate the frequently changing pulse

of the piece. They do, however, seem to contradict

Lilburn’s own ‘with freedom’ instruction and may

well have been an afterthought added in response

to a query from Margaret Nielsen or Frederick

Page. We have omitted the time signatures.

Piece 1

Hangover ties added at barlines 3/4, 7/8/9,

11/12/13, 23/24/25, 28/29.

Piece 3

24 Lilburn has written πƒ which is technically

impossible on a piano. We have changed it

to the more likely ƒπ.

Piece 4

26 πƒ change to ƒπ.

PEL05 – viii


Piece 6

4 L.H. tied crotchet added as in bars 1/2.

Three Preludes (1943)

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

the Alexander Turnbull Library (fMS-Papers-3903-07),

with reference to a second holograph in the Alexander

Turnbull Library (fMS-Papers-7369-1).

Prelude 1

2/3, 13/14, 54/55 R.H. slur added as in bar 1.

Prelude 3

The holograph has the instruction ‘gravely but with feeling’

written between the staves. As it is not in Lilburn’s

but in Frederick Page’s hand we have omitted it, nonetheless

it seems probable that Lilburn would have been

aware of the addition.

Fred’s Birthday (1965)

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

in the possession of Rod Biss (bearing the inscription

‘Frederick -/Das allerkleinste Stücke/für Ihr Geburstag -/

Douglas’ [‘The tiniest piece for your birthday’]), with reference

to a ballpoint holograph (entitled ‘Fred’s Birthday’

without the dedicatory remark) in the Alexander Turnbull

Library (fMS-Papers-2483-046/06).

Rondino for a Birthday (c.1943)

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

Alexander Turnbull Library (fMS-Papers-3983-4).

In measures 3 and 4 there are staccato dots over the quavers

and a slur over the four semiquavers and crotchet

of measure 4. It is most likely that Lilburn intended

this melodic idea to be played the same way in its many

appearances through the piece and we have added dots

and slurs accordingly.

Rod Biss, Auckland, 2016

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 fifth volume of the edition has been funded

by Creative New Zealand.

Promethean Editions, Wellington, 2016

PEL05 – ix


PEL05 – x


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Three Preludes © Alexander Turnbull Library Endowment Trust

This edition © 2016 Promethean Editions Limited PEL05 – 29

ISMN 979-0-67452-128-4


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PEL05 – 38


Douglas LilburN

Complete Piano Music Edition • 5

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 fifth 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 fifth 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 979-0-67452-128-4

Promethean Editions Limited

PO Box 10-143

Wellington New Zealand

www.promethean-editions.com

Lilburn Trust

DOUGLAS LILBURN Complete Piano Music Volume 5 PEL05

Chaconne (1946) • ‘Six Pieces’ (1964) • Three Preludes (1943) • Fred’s Birthday (1965)

Rondino for a Birthday (c.1943)

Printed in New Zealand • PEL05 • PNY PREPEL05

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