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Douglas LilburN<br />

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

Volume 2


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

Volume 2 (PEL02)<br />

Six Short Pieces (1962–63) © Alexander Turnbull Library Endowment Trust<br />

Sonata for <strong>Piano</strong> in A minor (1939) © Alexander Turnbull Library Endowment Trust<br />

Moths and Candles (1950) © 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 © 2012 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<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 978-1-877564-61-1 (print)<br />

ISBN 978-1-77660-522-4 (eBook)<br />

ISMN 979-0-67452-125-3<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 />

rhlm


Douglas LilburN<br />

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

Volume 2<br />

FOREWORD<br />

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

Editorial notes ..................................................................................... vi<br />

MUSIC<br />

SIX SHORT PIECES (1962-63) ............................................... 1<br />

SONATA for piano in a minor (1939) ......... 7<br />

MOTHS AND CANDLES (1950) ....................................... 28<br />

PEL02 – iii


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 second of eight companion volumes to accompany the recorded series<br />

and 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 at<br />

the stars and wondering “whether they was made, or only just happened.”’ At this time Lilburn<br />

wrote his Festival Overture and the Sonata 1939 (included in this volume), together with other<br />

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

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

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,<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 />

PEL02 – iv


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 />

In 1947 Lilburn joined the staff at 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 to his<br />

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

the Order of New Zealand in 1988.<br />

SIX short pieces (1962-63)<br />

Affetuoso<br />

Poco lento<br />

q = c.69<br />

e = 126 –132<br />

q = c.160<br />

Sostenuto<br />

Unfettered by the constraints of longer structures, Lilburn seems to have regarded his short<br />

piano pieces (of which there are several collections) as a form of liberation, allowing him<br />

to experiment without inhibition. Lilburn’s gift for encapsulation is evident in this set, with<br />

simple, sensuous and passionate motifs coming together in precisely adjusted balance. A line is<br />

drawn through nos. 4 and 5 in the holograph manuscript, and although we have every reason<br />

to trust Lilburn’s judgement, in this special case we have restored them to their rightful place<br />

in the repertory.<br />

Sonata for piano in A minor (1939)<br />

q = c.60 – Allegro<br />

Allegro assai vivace<br />

Andante – Allegro<br />

This work was written during the period of Lilburn’s tuition with Ralph Vaughan Williams.<br />

It immediately announces the presence of a distinct musical personality and reveals a quality<br />

characteristic of the mature composer: his very sharply realised visual sense. The sullen chords<br />

and ensuing flow of the opening paragraphs, for example, evoke a long line, like a wave<br />

PEL02 – v


gathering and breaking. This is almost a barren severity, like the rocky New Zealand coast the<br />

music obviously celebrates.<br />

Eden–like joys engage us in the second movement, where a twisting stream of semiquavers<br />

alternates with an almost mazurka–style dance in dark earthen colours.<br />

Lilburn trusts and celebrates his senses, and inextricably links his experiences to the natural<br />

world he loves. The finale serves as a hymn to the power of the sea, rivers, plains and mountains<br />

that bring renewal and hope.<br />

The copy–text for this edition is Lilburn’s holograph manuscript in the Alexander Turnbull<br />

Library.<br />

MOTHS AND CANDLES (1950)<br />

q = 60<br />

Subtitled ‘a dance for children’, this miniature was extracted from Lilburn’s score for The First<br />

Two Years at School (1950), a National Film Unit documentary produced by Margaret Thomson.<br />

The footage with this music is of little girls playing in the school Wendy House. Lilburn<br />

simulates the tinkle of a musical box and the recurring tune rotates like a clockwork ballerina.<br />

In this ‘dance’ version, moths can be visualised flittering in the melodic moments and candles<br />

on the flickering appoggiaturas.<br />

Robert Hoskins, Palmerston North, 2012<br />

Six Short Pieces (1962-63): One<br />

Editorial notes<br />

25 Lilburn’s πƒ marking has been changed to ƒπ.<br />

Three<br />

3, 5, 7, 8, 10, 12: πƒ changed to ƒπ.<br />

11 Slur and stress marks added to the two chords, cf bar 9.<br />

Four<br />

11, 15, 18, 21: Lilburn has an almost vertical line in his ms which we have changed to a comma<br />

indicating the slightest of pauses, as though taking a breath.<br />

16, 17 Lilburn’s ms has high F’s which we have changed to high A’s based on context.<br />

This piece abounds in false relations. We have not added any cautionary accidentals as we<br />

believe Lilburn’s intentions are clear. One can assume accidentals apply at the specific pitch<br />

PEL02 – vi


and for the specific bar only.<br />

Five<br />

1 Ms has no opening dynamic mark, we have added ∑.<br />

20 Lilburn’s only ‘Ped’ mark at bar 20 has been retained. In the ms there is no indication of<br />

where the pedal is lifted, but it would seem likely that he intended it to be held until the<br />

end of bar 24.<br />

Sonata for <strong>Piano</strong> in A minor (1939)<br />

Lilburn included no pedalling indications in the Sonata, preferring to indicate what he wanted<br />

with phrasing marks. There are also often short ties which appear to be tied to nothing – the<br />

effect a harpist would get with a laissez vibrez indication.<br />

There are many places in the Sonata where Lilburn has two parts on one stave, the top part is<br />

a dotted minim and the bottom part is a quaver playing the same note. For example see bar 9,<br />

a pattern which keeps recurring. In his ms Lilburn used two noteheads, his notation makes<br />

clear that the quaver is not dotted, however, we have adopted the general engraving practice of<br />

putting both parts on the one notehead which has the advantage of a less cluttered appearance.<br />

Rallentando. Ritardando. Più Ritardando. Ritenuto. In his ms Lilburn has most often used the<br />

abbreviation “riten.” for all of these terms. We have regularised these to “ritardando” meaning<br />

a gradual slackening in tempo, with the one exception of bar 64 in the third movement where<br />

“ritenuto”, meaning suddenly held back, seems to be what Lilburn intended.<br />

First Movement<br />

44 The fifth quaver in this bar in Lilburn’s ms has no accidental. Some players may be<br />

tempted to play it as a B≤ on account of the B≤ tied into the first chord, however, we<br />

believe that the BÎ is stylistically correct and is what the composer would have expected.<br />

188 “dim” added leading to the composer’s “niente”.<br />

223 “poco tranquillo e liberamente” added cf bar 74. Similarly “dolente” above RH melody.<br />

Second Movement<br />

27, 79 RH stress marks added to E crotchets so that they are both articulated.<br />

Third Movement<br />

150 Slur added to complete bar cf bar 138.<br />

Moths and Candles (1950)<br />

The ms has no tempo mark, we have added q = 60.<br />

Rod Biss, Auckland, 2012<br />

PEL02 – vii


Publisher’s note<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, Guy Donaldson, Claire Harris, Dr Robert Hoskins and financial support from Massey<br />

University in the publication of this edition.<br />

Promethean Editions, Wellington, 2012<br />

Opposite<br />

The first page of the composer’s manuscript of Sonata for <strong>Piano</strong> in A minor.<br />

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

Papers-2483-077)<br />

PEL02 – viii


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PEL02 – 28<br />

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PEL02 – 29

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