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Complete Piano Music Vol.8 (Preview)

Music by Douglas Lilburn | Piano The Douglas Lilburn Complete Piano Edition was established to accompany Trust Records’ award-winning recorded collection of the same name. The final volume in a series of eight, it comprises Andante Sostenuto (1964), ‘Piece in E major’ (c. 1942), Prelude (1950), ‘A Christmas Offering’ (1944), and Sonatina No.2 (1962).

Music by Douglas Lilburn | Piano

The Douglas Lilburn Complete Piano Edition was established to accompany Trust Records’ award-winning recorded collection of the same name. The final volume in a series of eight, it comprises Andante Sostenuto (1964), ‘Piece in E major’ (c. 1942), Prelude (1950), ‘A Christmas Offering’ (1944), and Sonatina No.2 (1962).

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Douglas LilburN Piano Music 8

VOLUME 5

Works for String Orchestra


Douglas LilburN

Complete Piano Music Edition

Volume 8


Douglas Lilburn Complete Piano Music Edition

Volume 8 (PEL08)

Andante Sostenuto (1964) © Alexander Turnbull Library Endowment Trust

‘Piece in E Major’ (c.1942) © Alexander Turnbull Library Endowment Trust

Prelude (1950) © Alexander Turnbull Library Endowment Trust

‘A Christmas Offering’ (1944) © Alexander Turnbull Library Endowment Trust

Sonatina No.2 (1962) © 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 © 2019 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 978-1-877564-67-3 (print)

ISBN 978-1-77660-528-6 (eBook)

ISMN 979-0-67452-131-4

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 8

FOREWORD

Douglas Lilburn biography

Editorial notes

iv

x

MUSIC

Andante Sostenuto (1964) 1

‘Piece in E Major’ (c.1942) 3

Prelude (1950) 4

‘A Christmas Offering’ (1944) 6

Sonatina No.2 (1962) 34

PEL08 – 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 electroacoustic 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 eighth 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.

PEL08 – 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.

Andante Sostenuto (1964)

Lilburn was a solitary observer of natural phenomena, studying in great detail the living forms

around him. This piece seems to be based on Lilburn’s observation of the sea.

‘Piece in E Major’ (c.1942)

This piece has a quasi-oriental flavour, especially noticeable in the little pentatonic cascades featuring

open fourths and fifths.

Prelude (1950)

A hunting-horn motto braced with false-related concords gives this piece an open-air feel.

‘A Christmas Offering’ (1944)

This lavish Christmas package for Lawrence Baigent and Leo and Mary Bensemann includes a fanfare,

four preludes (three of which appear in Occasional Pieces), a transcription of the ‘Willow Song’

originally composed for Ngaio Marsh’s 1944 production of Othello, a ‘Vivace’ movement (which is

also extant with the tempo marking ‘Allegretto’, inscribed by Lilburn ‘to Gwyneth Brown in appreciation

1 August 1945’), two quirky diversions, and a finale of Schubertian proportions. Entitled

‘Thoughts during Christmas-week 1944’, this last piece is cast as a theme with twenty-four variations

and an epilogue: Lilburn’s musings often have a Yule-tide flavour but sometimes express turbulent

feelings.

Sonatina No.2 (1962)

Composed in the Autumn of 1962, Sonatina No.2, together with Symphony No.3, provides the

fullest expression of Lilburn’s last notated music before he turned to the electroacoustic medium.

Spare, elegant and eloquent, both the sonatina and the symphony are rich and distinctive works that

maintain a tension that keeps them taut as cords in our collective memory.

PEL08 – v


In a radio talk given to celebrate Lilburn’s seventy-fifth birthday on 2 November 1990, pianist

Margaret Nielsen recalled ‘it was my pleasure and privilege to walk into my university study one day

to find the manuscript of Sonatina No.2 with a simple inscription sitting on my piano. As always,

Douglas was sympathetic to my interpretation but also offered perceptive comments and suggestions

which could only enhance my understanding and subsequent performance.’ This work, dedicated to

Nielsen, testifies the depth of Lilburn’s regard for her as an interpreter of his music. She in turn,

has commented on Lilburn’s perfect grasp of the piano in relation to ‘its lyrical strength, range of

articulation and colour, and the way in which pedalling-effects can enhance sound.’ 1 The work,

premiered by Nielsen on 22 July 1962 in the Music Room at the University of Victoria in a concert

organised by the Wellington Society for Contemporary Music, is cast in three movements of which

the third, linked to the second, is an epilogue that recalls earlier material.

In an overview of the sonatina, Margaret Nielsen notices that the significance of Lilburn’s writing is

that it never loses its elegance:

From the outset it was apparent that Douglas’s musical language had taken a new

direction, though a number of familiar features could be identified, such as the

antecedent/consequent pattern of the opening phases, with its play on contrasting

registers; the mercurial gestures; the underlying energy propelling the various motives

to their destinations; the economical textures with every note so meaningfully placed

– even the structure of the first movement falls neatly into a category of sonata form.

What seemed new to my ears at the time were the actual sounds, based on a different

harmonic system. Their poignant dissonances imbue the work (especially in the first

and third movements) with a bitter-sweet nostalgia; even the second movement with

its playful, provocative gestures and glowing sonorities retains the pervading reflective

atmosphere. 2

And on Lilburn’s pedalling, Nielsen has this to say:

Over the years, D and I frequently discussed pedalling – especially the versatility of the

sustaining pedal and I quickly realised he really liked what that pedal could contribute

toward colour, character, and sheer quality of piano sound, providing the pianist listened

absolutely attentively to what sounds were emerging from the musical context. D

frequently liked the aural picture of sound coming through a haze, or featuring a weighty

resonance warmed by the pedal rather than a Germanic percussiveness. 3

In private conversation Lilburn often spoke nostalgically of ‘paradise’ as belonging to childhood.

He once said to me, ‘growing up in the back country – that was real happiness, a child’s happiness.’

Memories of Edenic joys countered by an acknowledgement of their inevitable passing appear to

underlie this sonatina. The bellbird-like idea opening the first movement, for instance, seems tuned

to the memory of prelapsarian bliss but the tone of repining that we hear manifest in the epilogue

comes from the fact that we are beyond Eden, at a distance of space and time. A great solitude was

Lilburn’s constant companion – solitude that seems embedded on the shores of the second sonatina

– also Sings Harry and the third symphony, works that might be regarded as companion pieces: but

1 Margaret Nielsen, ‘The Piano Music of Douglas Lilburn’ in Finding Language: The Massey University Composer

Addresses, ed. Michael Brown and Norman Meehan with Robert Hoskins (Wellington: Victoria University Press, 2017),

123.

2 Margaret Nielsen, ‘The Piano Music of Douglas Lilburn: Reflections on my On-going Appreciation of a Unique Treasury

of Music’, Music in New Zealand 31 (1995-96), 24-25.

3 Email, Margaret Nielsen to Robert Hoskins, 22 May 2018.

PEL08 – vi


The first page of the composer’s manuscript of Sonatina No.2.

(Reproduced by permission of the Alexander Turnbull Library, Douglas Gordon Lilburn Papers fMS-Papers-5885-11)

PEL08 – vii


then, solitude and the mystical are no strangers, forming in such music an alliance with the power

of transformation. In her copy of the score, pianist Judith Clark marks up bars 91-96 of the first

movement as ‘special’, meaning numinous, and Margaret Nielsen remembers ‘my absolute joy when

I first heard D’s bird singing the first two bars of his second sonatina here in my own garden, and on

many other subsequent occasions – and all coming through a gentle mist.’ 4 I see the limpid moments

in Beethoven’s late sonatas to be Lilburn’s guiding star.

In November 1965, Barry Margan gave the first performance of the sonatina overseas at a concert in

New Zealand House in London. Writing to Lilburn afterwards, Margan related his own response to

the music as similar to viewing Japanese prints evoking the natural world – the cherry blossom, the

willow, the cresting wave – works that combine lightness of touch with the Zen ideal of oneness of

creation. Lilburn replied ‘Not Japanese so much as a simple awareness of the Pacific, of the sounds

on these coasts, the iridescence of paua shell I search – I’m glad if something communicates to you.’ 5

Margan also remembers a session with Lilburn in 1968, when they discussed aspects of the sonatina

together at the keyboard:

After I had played through the work we began by discussing the opening motif, with

particular reference to visual and aural stimuli from one’s inner eye and ear – inscapes.

Douglas made reference to sunlight flashing on a distant wave or the sun-glint from

waka paddles. I talked about the dawn call of a bellbird at a remote beach on Great

Barrier Island (again in bar 37). He seemed amenable to that. What we were both

trying to express was a sudden manifestation of energy (visual or aural) from an ambient

landscape. We then discussed the passage bars 41-53 which to me always suggested a leaf

blossom or twig vibrating in the wind. Douglas acknowledged that the passage in thirds

(bars 63 following) was a direct reference to the Māori chant ‘Pō! Pō!’ [that Lilburn

included in his electroacoustic work Summer Voices (1969)].

Movement two was mainly subject to a discussion of ‘percussive resonance’, particularly

with reference to the forte subito passages (bars 18-24, 45-50) – the sounds and rituals

of Javanese Gamelan players came to mind; the significance of the allargando, as in the

last four measures of the movement, whereby the tempo of the quavers is slowed, with

sound becoming more intense; and the theatrical gesture of actually striking the final

notes, as purely percussive action at the piano with a long, long pause to follow, allowing

the sound to decay almost to nothing (possibly anticipating Lilburn’s electronic effects).

Movement three has always seemed to me to be ‘sound for sound’s sake’. My suggestions

concerning the translucence and suspended animation of tidal rock pools, of bird calls,

and the voices of long-past inhabitants of a lonely land were well received by Douglas.

After three attempts in the final six bars, the work resolves into a state of permanent

stillness. 6

Although the pianists who know the sonatina so well from the inside talk of its subtleties, beauty,

delicacy and meaning, it will always be a work of immediate appeal, a work that is as much a delight

to listen to as to play, a work that can be enjoyed as pure music.

4 Email, Margaret Nielsen to Robert Hoskins, 22 May 2018.

5 Letter, Douglas Lilburn to Barry Margan, 23 December 1965.

6 Email, Barry Margan to Rod Biss, 10 June 2018.

Robert Hoskins, Palmerston North, 2019

PEL08 – viii


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, the Lilburn Trust, Barry Margan, Massey

University, the HRL Morrison Music Trust, and Margaret Nielsen, in the publication of this edition.

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

Music Trust.

Promethean Editions, Wellington, 2019

PEL08 – ix


Editorial notes

Andante Sostenuto (1964)

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

in the Alexander Turnbull Library (fMS-

Papers-2483-052).

We have retained Lilburn’s pedal indications and

his own deployment of hangover ties, tied notes,

and bars without rests which will all be found illuminating

for performers.

‘Piece in E Major’ (c.1942)

The copy-text for this edition is Lilburn’s

holograph in the Alexander Turnbull Library

(MS-Papers-2483-009).

Tempo and dynamic marks, apart from ƒƒ at m.19,

which is Lilburn’s, are those recommended by

Dan Poynton in his recorded performance (Trust

MMT2068-69).

20 Slurs added over quavers on first beat.

Prelude (1950)

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

in the Alexander Turnbull Library (fMS-

Papers-7623-23).

The apparent lack of rests follows the holograph,

also the sudden appearance of two stems for the

crotchets in m.5 (indicating the use of two hands).

2 The triplet D/G/D on beat 7, a seeming

change from D/C/D, is a pencil alteration in

the holograph in the composer’s own hand.

24 The repeated chords on beats 5/6 are also a

composer’s change of mind in pencil on the

holograph; we have added the staccato dots.

32 Staccato dots added to the repeated chords.

36 Staccato dots added to RH repeated crotchet

chords and in LH to match similar passages.

‘A Christmas Offering’ (1944)

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

in the Alexander Turnbull Library (fMS-

Papers-3983-5), with reference to a second holograph

of the ‘Vivace’ movement (with the tempo

marking ‘Allegretto’, bearing the inscription ‘to

Gwyneth Brown’ (fMS-Papers-7144).

Flourish

We have followed the composer’s deployment of

rests wherever possible.

Four Preludes

The metronome mark has been added in pencil

probably at a later date. It is in Lilburn’s hand.

2

The holograph carries the instruction ‘Sostenuto

e velato quasi lontano’ which we have retained,

although the word ‘velato’ is omitted in Occasional

Pieces (PEL01). What the composer is asking for is

a veiled sound.

3

The metronome mark of Π= c.60 is a pencil addition

to the holograph, as is the term ‘quasi narrante’.

When Lilburn re-used this prelude in his

Four Preludes of 1948-60 (PEL01), he added the

direction ‘Andante Œ = 54’ and replaced ‘quasi narrante’

with ‘with freedom’.

Vivace

In the copy of this piece which Lilburn transcribed

and presented to Gwyneth Brown, the composer

changed the ‘Vivace’ marking to ‘Allegretto’ and

the ‘delicatamente’ is changed to ‘leggieramente’.

He also added more dynamics: m.6 has a crescendo

hairpin leading to π at m.7; m 14 has a crescendo

hairpin leading to π at m.15; m.30 lacks the hairpin

but m.31 has the instruction ‘cres. e poco rit’.

Leading to ‘π a tempo’ at m.33; the final beat of

m.40 is marked ‘ten’ and m.47 is marked ππ.

These changes have not been made in this edition.

Thoughts during Christmas-week 1944

7/8, 13/14, 19/20 Staccato dots have been added to

repeated quavers to match mm.1/2.

PEL08 – x


28 Staccato dots added to R.H. to match L.H.

109/110 Staccato dots added to match

mm.105/106.

113/114/115 Staccato dots added to match

mm.105/106/107.

128 R.H. Flat added to B to match m.125.

420/422/426/428/430 Staccato dots added to octave

D’s and A’s to match m.418.

Sonatina No.2 (1962)

The principal copy-text for this edition is the first

engraved edition published by Price Milburn

(PMM) in 1973 which was seen through the

press by Rod Biss and proofread by both him

and Lilburn. The source for the Price Milburn

edition was the facsimile edition that Lilburn

himself prepared for Wai-te-ata Press Music

Editions (WP) in 1967. We have also referred to

three underlying manuscripts all in the Alexander

Turnbull Library: the earliest version in pencil

(fMS-Papers-2483-091), a holograph in ink bearing

the dedication and formerly in the possession of

Margaret Nielsen (fMS-Papers-2483-090) and

an autopositive transparency made by Lilburn at

some time (fMS-Papers-5885-11). Also consulted

are dyeline copies made from the autopositive

transparency; one copy formerly in the possession

of Judith Clark and now with the Alexander

Turnbull Library (fMS-Papers-11836-07) and a

second copy with pedal markings added in pencil

by Lilburn, which is the property of Barry Margan.

of semiquavers is constant. In places such as

mm.55/56 the bracketed accent is the composer’s.

35/36 L.H. quaver brace added as in mm.103/104.

60, 130, 133 stress marks (tenuto) have been added

as in similar passages.

63 π added, in 1967 WP and in Nielsen,

transparency.

Second Movement

45 ‘subito’ added to ƒ as in m 18.

45 In the Nielsen holograph ‘vivo’ added by

the composer after ‘a tempo’.

60 The final bar was revised by the composer

for the PMM edition.

Third Movement

14 ∆ added in both PMM and WP. In

Nielsen ‘vivo’ added.

18/19 Transparency has ‘niente’ (possibly not his

hand) whereas PMM has ‘morendo’.

Rod Biss, Auckland, 2019

Pedalling: The holographs did not include any

pedal indications other than the word ‘ped’ at the

start of the autopositive transparency. However the

Price Milburn has pedaling throughout which we

have adopted.

Cautionary accidentals: The composer added very

few cautionary accidentals and this edition has not

added any more as the semitonal clashes are an

essential aspect of the whole piece. Performers

should play accidentals as written.

Time Signature of 3/8: The score has an inbuilt

conflict between simple groupings (3 quavers)

and compound (2 dotted quavers). The speed

PEL08 – xi


PEL08 – xii


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‘Piece in E Major’ © Alexander Turnbull Library Endowment Trust

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This edition © 2019 Promethean Editions Limited PEL08 – 3

ISMN 979-0-67452-131-4

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This edition © 2019 Promethean Editions Limited PEL08 – 4

ISMN 979-0-67452-131-4


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‘A Christmas Offering’ 1944

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‘A Christmas Offering’ © Alexander Turnbull Library Endowment Trust

CCO CC O CC CC CC O

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This edition © 2019 Promethean Editions Limited PEL08

PEL08 – 6

ISMN 979-0-67452-131-4

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FOUR PRELUDES

1

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48

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PEL08 – 20 PEL08 – 20


#

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Thoughts during Christmas-week (1944)

THOUGHTS DURING CHRISTMAS-WEEK 1944

1

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PEL08 – 21 PEL08 – 21


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PEL08 – 22 PEL08 – 22


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PEL08 – 23 PEL08 – 23


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PEL08 – 24 PEL08 – 24


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177

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con 2 pedale

185

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PEL08 – 25 PEL08 – 25


CC

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246

! W W W CC

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PEL08 – 26 PEL08 – 26


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PEL08 – 27 PEL08 – 27


#

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PEL08 – 43


Douglas LilburN

Complete Piano Music Edition • 8

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 eighth of eight companion volumes to accompany the

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

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 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 eighth 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 979-0-67452-131-4

Promethean Editions Limited

PO Box 10-143

Wellington New Zealand

www.promethean-editions.com

Lilburn Trust

DOUGLAS LILBURN Complete Piano Music Volume 8 PEL08

Andante Sostenuto (1964) • ‘Piece in E Major’ (c.1942) • Prelude (1950)

‘A Christmas Offering’ (1944) • Sonatina No.2 (1962)

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