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Douglas LilburN <strong>Piano</strong> <strong>Music</strong> 5<br />

VOLUME 5<br />

Works for String Orchestra


Douglas LilburN<br />

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

Volume 5


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

Volume 5 (PEL05)<br />

Chaconne (1946) © Alexander Turnbull Library Endowment Trust<br />

‘Six Pieces’ (1964) © Alexander Turnbull Library Endowment Trust<br />

Three Preludes (1943) © Alexander Turnbull Library Endowment Trust<br />

Fred’s Birthday (1965) © Alexander Turnbull Library Endowment Trust<br />

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

ISBN 978-1-77660-525-5 (eBook)<br />

ISMN 979-0-67452-128-4<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 5<br />

FOREWORD<br />

Douglas Lilburn biography<br />

Editorial notes<br />

iv<br />

viii<br />

MUSIC<br />

Chaconne (1946) 1<br />

‘Six Pieces’ (1964) 25<br />

Three Preludes (1943) 29<br />

Fred’s Birthday (1965) 33<br />

Rondino for a Birthday (C.1943) 34<br />

PEL05 – 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 fifth 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 />

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

PEL05 – iv


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 />

Chaconne (1946)<br />

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

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

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

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

life he perceived in those surroundings:<br />

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

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

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

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

there I could see Mounts Cook and Tasman shining in the distance, and I thought, aha,<br />

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

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

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

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

great deal to me.<br />

The curve and grain of the music create an impressive physical space and when the expatriate New<br />

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

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

From the first notes of the prelude there was a shock of excitement at the sounds you<br />

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

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

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

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

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

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

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

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

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

and their rhythm has just the jagged vivid sound I’d hoped for.<br />

Chaconne opens with a carefully crafted theme that, as Michael Houstoun explains (Michael<br />

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

and cellular elements in performance:<br />

PEL05 – v


The pianist who takes on the Chaconne will have no technical problems in the opening<br />

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

musical concerns. Because the opening bars are the basis for the whole work, all the<br />

elements contained in them must signify. This is simply a question of consciousness, of<br />

identity between the pianist and the music. Probably the main danger here will be the<br />

temptation to overplay, over-dramatize. But a mature musician will trust Lilburn to<br />

keep things simple.<br />

Margaret Nielsen, in a lecture she delivered at Massey University in 2003, observed Lilburn was<br />

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

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

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

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

allegiance to the piano repertory, reaching back from Ravel and Rakhmaninov through to Bach.<br />

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

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

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

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

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

open string passagework, point-of-bow rhythm and string-crossing broken chords) seems<br />

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

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

Chaconne is marked by the symmetrical return of the opening statement at the middle and the end,<br />

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

‘Six Pieces’ (1964)<br />

There is something Bartókian about the way the music observes eternal metamorphosis at work –<br />

even in the space of a few bars.<br />

Three Preludes (1943)<br />

Andante ma con moto<br />

Allegro con brio<br />

Adagio ma non troppo<br />

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

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

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

Fred’s Birthday (1965)<br />

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

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

tune ‘Happy Birthday’ even though it is not directly quoted.<br />

Rondino for a Birthday (c.1943)<br />

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

to you!’ motif.<br />

PEL05 – vi<br />

Robert Hoskins, Palmerston North, 2016<br />

The first page of the composer’s manuscript of Chaconne.<br />

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


Editorial notes<br />

Chaconne (1946)<br />

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

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

Papers-2483-010) published in facsimile by the<br />

University of Otago Press in 1972, with reference<br />

to the Waiteata <strong>Music</strong> Press edition published in<br />

2005.<br />

Trill signs: Lilburn writes trills with a wavy extension<br />

line following the ‘tr’, we have, however,<br />

dispensed with the wavy line in accordance with<br />

house style.<br />

Accidentals: A constant feature of the Chaconne’s<br />

harmony is the number of semitonal clashes, in<br />

particular between GÍ and Gˆ. The editors have<br />

added a cautionary natural to the G in bar 5, but<br />

from that point on the performer should assume<br />

that accidentals apply only to the bar and at the<br />

pitch where they occur.<br />

Grace notes: Lilburn writes grace notes that occur<br />

on the first beat of the bar before the bar-line. We<br />

have moved them to the usual position after the<br />

bar line, however, it is clear from Lilburn’s notation<br />

that the grace-notes anticipate the beat on which<br />

the main note is played.<br />

5–6 Slur on RH lower voice added.<br />

98 RH slur added.<br />

112–115 Lilburn places a ° sign under the second<br />

beat of bar 112, however, he does not indicate<br />

where the pedal is lifted. It seems likely<br />

he wanted it held to the end of bar 115 as<br />

in our edition.<br />

122 Slurs on second two groups added.<br />

124 Slurs added.<br />

315 Final semiquaver LH is amended to EÏ/F<br />

from D/EÏ in the holograph.<br />

337–441 In these six bars Lilburn has indicated<br />

only one pedal mark, down at the start of<br />

336 lifted at the end of 337. He has, however,<br />

added hangover ties to the semibreve A’s<br />

in 337 which indicate that he wants those<br />

low notes to be heard through the following<br />

bar. Although there is no pedal mark in the<br />

holograph for 339 it is clear from the music<br />

that the same effect is intended for 339–40.<br />

371 The BÍ on the third beat of the RH has<br />

been queried by some performers who<br />

believe that Lilburn intended a CÍ, however,<br />

we have retained the holograph’s BÍ in our<br />

edition as it seems to the editors to be in<br />

keeping with the patterns Lilburn has established.<br />

498 Whole bar rest added.<br />

‘Six Pieces’ (1964)<br />

The copy-text for this edition is from a folder<br />

of holograph piano pieces and sketches<br />

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

Papers-2483-052); the order of these pieces conforms<br />

to the Trust Records recording.<br />

Time Signatures: In Pieces 1 and 2 Lilburn does<br />

not give a time signature, however, the grouping of<br />

notes and position of barlines will give performers<br />

a feeling for the pulse of these two pieces. In Piece<br />

6 the holograph has time signatures above the<br />

stave which indicate the frequently changing pulse<br />

of the piece. They do, however, seem to contradict<br />

Lilburn’s own ‘with freedom’ instruction and may<br />

well have been an afterthought added in response<br />

to a query from Margaret Nielsen or Frederick<br />

Page. We have omitted the time signatures.<br />

Piece 1<br />

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

11/12/13, 23/24/25, 28/29.<br />

Piece 3<br />

24 Lilburn has written πƒ which is technically<br />

impossible on a piano. We have changed it<br />

to the more likely ƒπ.<br />

Piece 4<br />

26 πƒ change to ƒπ.<br />

PEL05 – viii


Piece 6<br />

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

Three Preludes (1943)<br />

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

the Alexander Turnbull Library (fMS-Papers-3903-07),<br />

with reference to a second holograph in the Alexander<br />

Turnbull Library (fMS-Papers-7369-1).<br />

Prelude 1<br />

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

Prelude 3<br />

The holograph has the instruction ‘gravely but with feeling’<br />

written between the staves. As it is not in Lilburn’s<br />

but in Frederick Page’s hand we have omitted it, nonetheless<br />

it seems probable that Lilburn would have been<br />

aware of the addition.<br />

Fred’s Birthday (1965)<br />

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

in the possession of Rod Biss (bearing the inscription<br />

‘Frederick -/Das allerkleinste Stücke/für Ihr Geburstag -/<br />

Douglas’ [‘The tiniest piece for your birthday’]), with reference<br />

to a ballpoint holograph (entitled ‘Fred’s Birthday’<br />

without the dedicatory remark) in the Alexander Turnbull<br />

Library (fMS-Papers-2483-046/06).<br />

Rondino for a Birthday (c.1943)<br />

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

Alexander Turnbull Library (fMS-Papers-3983-4).<br />

In measures 3 and 4 there are staccato dots over the quavers<br />

and a slur over the four semiquavers and crotchet<br />

of measure 4. It is most likely that Lilburn intended<br />

this melodic idea to be played the same way in its many<br />

appearances through the piece and we have added dots<br />

and slurs accordingly.<br />

Rod Biss, Auckland, 2016<br />

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 fifth volume of the edition has been funded<br />

by Creative New Zealand.<br />

Promethean Editions, Wellington, 2016<br />

PEL05 – ix


PEL05 – x


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PEL05 – 38


Douglas LilburN<br />

<strong>Complete</strong> <strong>Piano</strong> <strong>Music</strong> Edition • 5<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 fifth 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 />

The publication of this fifth 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 979-0-67452-128-4<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 5 PEL05<br />

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

Rondino for a Birthday (c.1943)<br />

Printed in New Zealand • PEL05 • PNY PREPEL05