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Douglas LilburN Piano Music 7

VOLUME 5

Works for String Orchestra


Douglas LilburN

Complete Piano Music Edition

Volume 7


Douglas Lilburn Complete Piano Music Edition

Volume 7 (PEL07)

Prelude (1951) © Alexander Turnbull Library Endowment Trust

Five Bagatelles (1942) © Alexander Turnbull Library Endowment Trust

‘Three Pieces’ (1965) © Alexander Turnbull Library Endowment Trust

‘Christmas 1943’ (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 © 2018 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 978-1-877564-66-6 (print)

ISBN 978-1-77660-527-9 (eBook)

ISMN 979-0-67452-130-7

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 7

FOREWORD

Douglas Lilburn biography

Editorial notes

iv

vii

MUSIC

Prelude (1951) 2

Five Bagatelles (1942) 4

‘Three Pieces’ (1965) 26

‘Christmas 1943’ (1943) 30

PEL07 – 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 seventh of eight companion volumes to accompany the recorded series and draws

on the expertise of Dr Robert Hoskins, formerly an Associate Professor at Massey University and

the New Zealand School of Music 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.

PEL07 – iv


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

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.

Prelude (1951)

This piece, which has a Bachian feel for harmonic movement, has aptly been described by the pianist

Margaret Nielsen as ‘exuding a sort of rhapsodic nostalgia as each phrase struggles to escape from

the pedal points that act as secure anchors to different tonal areas.’ A surge of sound in the middle

releases the music into a new tonal centre of C sharp minor but shifting tonalities ensue until it

finally resolves into D major. Lilburn is spare with performing instructions but, as a general rule in

pieces like this, one aims for clearness and plasticity of sound.

Five Bagatelles (1942)

Allegro

Largo

Allegro con brio

Tranquillo (‘From the Port Hills’)

Allegro

The musical structure as one moves through this set progressively reveals a larger unity. The fourth

prelude is known independently as ‘From the Port Hills’, which is a topographical reference to the

Christchurch landscape; the hushed chords and ambient modalities create a warming nimbus, and

this special envelope of sound sustains from first to last. Noel Newson premiered Five Bagatelles

on 12 December 1942 at a concert presented by the Royal Christchurch Musical Society (he gave

a repeat performance at a concert devoted to Lilburn’s music held in the Canterbury University

College Hall on 29 September 1943). A recording of Lilburn playing ‘From the Port Hills’ exists in

the National Sound Archives.

‘Three Pieces’ (1965)

These pieces reveal the erudition of Lilburn’s serial technique but, just as in his Third Symphony,

this is not serialism for the sake of serialism but serialism to invite another dimension. The last piece

is a marvel of sustained intensity and it is wonderfully instructive to see how Lilburn varies the limpid

sonorities emanating from the opening bars to create an even more transfixing beauty.

PEL07 – v


‘Christmas 1943’ (1943)

This parcel of six pieces gifted to Lawrence Baigent and Leo Bensemann opens with jubilant bells

and a quasi-Russian psalm: entitled ‘Christmas 1812’, it seems to be summoning Napoleon’s retreat

from Moscow as a hopeful war-time message (had Lilburn been reading Tolstoy’s account in War and

Peace of Muscovites returning to their ruined city ‘like blood rushing back to the heart’ and listening

to the Home Service broadcasts of war-torn Moscow in November 1943?). The set also includes a

transcription of music for three violins Lilburn originally composed for the play-within-the-play in

Ngaio Marsh’s 1943 production of Hamlet and a pseudo-lute piece entitled ‘Lady Wood’s Fancie’,

which was written as a private joke occasioned by Olive, Lady Newall, wife of the governor-general,

asking Lilburn at a party ‘How beautifully the bellbirds sing - why haven’t you used them in your

music?’ (a caption under the title reads: ‘Don’t you think Mr —, that the New Zealand scenereh/ has

rather a melancholeh beauteh?’). The second prelude is an earlier version of the one published by

Caxton in 1945 and later in Occasional Pieces.

Robert Hoskins, Palmerston North, 2018

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 seventh

volume of the edition has been funded by Creative New Zealand and the HRL Morrison Music

Trust.

Promethean Editions, Wellington, 2018

PEL07 – vi


Editorial notes

Prelude (1951)

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

in the Alexander Turnbull Library (fMS-

Papers-2483-016).

Five Bagatelles (1942)

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

in the Alexander Turnbull Library (fMS-

Papers-2483-028).

Bagatelle 1

98, 99 †ƒ added in pencil, presumably by Newson

after discussion with composer.

135 Pencil accent added to 1st note in R.H.

Presumably by Newson after discussion with

composer.

Bagatelle 3

44, 48 beat 2 staccato dot added to match m.38.

45, 49 beat 1 staccato dot added to match m.39.

71 Lilburn indicates use of two pedals but does

not indicate a return to ‘tre corde’. It seems

likely that this would be at the end of m.152.

127–129, 233–235 Slurs and stress marks added to

match 95–97

169 Stress marks added to match 166–168

Bagatelle 4 – ‘From The Port Hills’

1 The ° mark has been added in pencil presumably

by Newson after discussion with

composer and it gives a clear idea of how

Lilburn expected the piece to be played (see

page viii).

20–21 R.H. In Lilburn’s ms these two bars are at a

page turn. We have extended the phrase

across the bar-line to match similar passages.

37 L.H. In the ms the phrase ends on the first C

octave, we have extended it to mirror the

R.H.

Bagatelle 5

The copy text has a pencilled change to the mm of

Œ = 168, and the composers ∑ has been changed

to ∆. We have not adopted these changes, presumably

added by Newson, but performers should be

aware that they were probably approved by Lilburn.

96–110 Accents and slurs have been added to the

R.H. figure to match all earlier appearances

of this figure.

‘Three Pieces’ (1965)

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

in the Alexander Turnbull Library (fMS-

Papers-7623-20).

Third Piece

11, 13, 23 Lilburn ends his pedal indication with a

wavy line which probably indicates a quick

repetitive up and down of the pedal.

‘Christmas 1943’ (1943)

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

in the Alexander Turnbull Library (fMS-

Papers-3983-3).

Third Piece

The source for this version of the Prelude has several

differences from later versions; the metronome mark

here is Œ = 152 and in later editions Ó = 84. In bars

8–9 the Cs and Gs are all accented but not in this

source. In later appearances bars 18–19 are significantly

altered. The later version of this Prelude can

be found in Volume 1 of this series.

Rod Biss, Auckland, 2018

PEL07 – vii


The first page of the composer’s manuscript of ‘From The Port Hills’ from Five Bagatelles.

(Reproduced by permission of the Alexander Turnbull Library, Douglas Gordon Lilburn Papers fMS-Papers-2483-028)

PEL07 – viii


Douglas LilburN

Complete Piano Music Edition

Volume 7

PEL07 – 1


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ISMN 979-0-67452-130-7


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X - C

C

X - C

C C C

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PEL07 – 12 PEL07 – 12


S

S

S

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75

! W W W C C C C C C C C Y C C C C C C C C C C Y C C C C C

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82

! W W W X - C X C

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# W W

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89

! W W W C C C C C C C C C C C C C X C C C

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96

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102

! W W W C C T U C C Y C T U X X

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108

! W W W X X

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PEL07 – 13 PEL07 – 13


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114

! W W W Y C C

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dim.

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poco rit.

C Y C

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a tempo

pp

C C B B

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120

! W W W C C Y C C C C C C C C C C C C C C C C C X C C C Y C C C C C C C C

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126

! W W W C C Y C C C C X C C - C X C - C X C - C

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132

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rit.

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138

! W W W C C C

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C C C C C C C C C C C C C C C C C C C C C C C O

mp dim., legatissimo

BB O

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144

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PEL07 – 14 PEL07 – 14


#

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PEL07 – 15 PEL07 – 15


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a tempo

W W

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pp

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226

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240

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mp

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dim., legatissimo

C C C C C

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247

! W W W C C C C C C C C C C C C C O C C C C O C C C C C C C C C O

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253

! W W W ?

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al niente

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T T

PEL07 – 17 PEL07 – 17


#

#

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h

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4

‘From the Port Hills’

Tranquillo = c.44

! 9 O

8 W CCO

pp

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# 9 8

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9

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PEL07 – 18 PEL07 – 18


h

h

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pp

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PEL07 – 19 PEL07 – 19


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‘Three Pieces’ © Alexander Turnbull Library Endowment Trust

This edition © 2018 Promethean Editions Limited PEL07 26

ISMN 979-0-67452-130-7

PEL07 – 26


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PEL07 – 27 PEL07 – 27


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PEL07 – 28 PEL07 – 28


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PEL07 – 36 PEL07 – 36


PEL07 – 37


Douglas LilburN

Complete Piano Music Edition • 7

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 seventh of eight companion volumes to accompany the

recorded series and draws on the expertise of Dr. Robert Hoskins, formerly

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 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 seventh volume of the Douglas Lilburn Complete Piano Edition is funded by

Creative New Zealand and the HRL Morrison Music Trust. 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 979-0-67452-130-7

Promethean Editions Limited

PO Box 10-143

Wellington New Zealand

www.promethean-editions.com

Lilburn Trust

DOUGLAS LILBURN Complete Piano Music Volume 7 PEL07

Prelude (1951) • Five Bagatelles (1942) • ‘Three Pieces’ (1965) • ‘Christmas 1943’ (1943)

Printed in New Zealand • PEL07 • PNY PREPEL07

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