Complete Piano Music Vol.8 (Preview)

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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This edition © 2019 Promethean Editions Limited PEL08 – 1
ISMN 979-0-67452-131-4

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B
B
pp
AA
A
CCC C C
B
B
CCC C C C C C C C C C C C
CCC C C C C C C
CCCC C C C C
! W W W W CCC C C
CCC C C C C C
CCC C C S
C CCC C CC C C C CC C C C C #
C
C C
CCCC CC CC C C C
C C
C
CC
C C
! W W W W #
C C
22# W W
W W
C C C CC CC CC CC CC C
ff
!
g
C T C C C C C C C
#
CCC C
CCCC S
CCCCCCC C C C C C
C C C C C C U T
CCCC S
CCC C C
CCC C C
C
C
O B O B
CCC C C O B
CCC C C
C
C
# W W
W W
A A
PEL08b
‘Piece in E Major’ © Alexander Turnbull Library Endowment Trust
O
O
C C
S C C C
CCC O
This edition © 2019 Promethean Editions Limited PEL08 – 3
ISMN 979-0-67452-131-4
C C B

#
#
#
CC
C
C
C
CC
g
C
C
h
g
C
g
C
C
CC
g
C
C
h
C
C
C
CC
C
h
g
g
g
h
g
B
C
C
C
B
C
C
C
C
CC
C
CC
C
CC
C
C
CCC
B
B
CC
C
C
C
CC
C
C
C
C
BB
B
-B
C
BB
-B
B
-B
C
B
C
C
-B
-B
-B
CC
C
C
-A
AA
-AA
-A
-AA
A
BB
A
B
C
C
C
C
C
C
C
CC
C
C
Prelude 1950
Quickly, with rather free rhythm
! Y7 4
Y 7 4
BBBC B C C B B B
C
B C C
C C C
C C C
C
p
cresc. G sf p
C C
C C
B
B B B O A B A B O A B A B O
G C
6
. . . .
! Y C C C C C C C C C C C
O O
C C CC C
C C C C C C C C C C C 2
3 B
. . . .
B
p
B BB -
B B -B
Y 3 2
7 4
p
7
4
10
. . . .
! Y7 4 O C C C C C C C C CC C
O
C C C CC C 2 B 4
7
C C C C C C C C C C C
. . . .
B
Y 4
7 2 B-A 4
7 !
-A
ten.
C C C
14
! Y
C C C C X W C C C C C C C X W C C C
4
5
C C C X W C 4
7 X B- B B- B S
G
G
G
C
cresc.
f
p
! Y 4
5 4
7
C C C C C C C C C C C C C C S
C B- B-
18
! Y O O C C C C C C C C ĊC ĊC ĊC ĊC C CC C 2
3 B B B 4
7
B
! Y O
2
3 #
O
4
7
C C C C C C C C. C . C. C. C C C B
A-CC ! C
B-
RO
PEL08c
Prelude © Alexander Turnbull Library Endowment Trust
This edition © 2019 Promethean Editions Limited PEL08 – 4
ISMN 979-0-67452-131-4

#
#
C
C
BB
C
C
B
B
C
B
B
>B
B
C
B
-B
BB
BBB
C
R
BB
BBB
C
C
BBB-B
C
S
-A
AAA
C
C
ig
C
>C
B
B
>B
B
BB
C
CC
C
C
C
R
C-
C
C
CC
C
C-C
CCC
CC
C
C
C
C
C
AAA
C
B
C
h
C
h
C
C
C
C>
C
BBB
B
B
ig
CC
>
h
h
C
CC
C
C
C
C
C
CCC
C
h
h
CĊ
CCC
C
C
B
CĊ
C
B
CĊ
C
C
C
BBB
B
B
CĊ
C
C
g
CĊ
C
B
CCC
C
C
A
C
B
CC
C
CC
CCC
C
C
C
22
g
! Y C
C B > g
C
B O C B > g
B O
2
3 C CĊ CĊ CĊ
C C C C
C>C
> .
CĊ
C
f
! Y R R CC C C R R CC C C 2
3 S ĊC ĊC ĊC C
> Ċ Ċ
C T #
4
7 B B
ff
Ċ T #
4
7
B
B
BBC C C
O
C C C
26
#
29
Y ! 2
3
C C C C C C C C C C C C W C
X W C C X X C C W
X W B B X X C C W W C C
C X X C C W
X W B B X X C C W W C C X X C C
dim.
K C C C W C C W B C C C W B C C C
Y 2
3 C C C
O
! Y3
W B B
2
XW B 4
7
W C C CC
W C C CC
2
3
W p
cresc.
ff
Y 2
3 ! 4
7 #
W C OO W C OO BBg ! 2
3 CC. C.
CC C . C.
33
W
! Y3 BBB B- B
7 2 B B W B AA - A C O O C C C C C C C C ĊC ĊC ĊC ĊC CC CC CC
A 4
2 f
! Y3 #
-B
O O
2 W B B
! 4
7 C C C C C C C ĊC ĊC ĊC ĊC CC 2
B-A
CC C
-A
37
! Y2 2
41
B
B
B B A-
B 4
7 A A
A
mp
C C C C
G
C C
X
W C C C C C C
G
C C
X
W C C C C
! Y2 # 7 2 4 ! 4
5
B-A B C C C C C C C C C C C C C
cresc.
più lento, allargando
! Y5
C C
?
4
X W C 4
7 X BB W C- g
2
3
G
C C W -BB BB
W B BB CC
AAOO
AAOO
-B -B B B W B B A-
f
p mf cresc.
ff dim.
O
! Y5 7 4 4 2
3 #
C C C B C-C W
B
B¯ - C- B- B- B - B
5
4
PEL08 – 5 PEL08 – 5

C
C
CC
C
C
C
C
C
C
C
C
C
C
C
C
C
B
B
B
B
B
C
C
CC
C
CCC
g
C
C
C
h
CCC
CCC
C
TU
T
C
C
R
C
igk
C
jhl
BBB
C
C
C
C
C
B
B
B
CC
C
C
C
C
C
CC
C
C
C
C
g
C
C
C
h
BBB
TU
C
T
igk
C
igk
C
jhl
BBBB
C
BBB
C
C
C
h
BBB
TUU
jhl
C
CC
igk
C
C
CC
CC
S
C
C
C
C
C
C
C
C
C
C
C
C
B
B
B
B
B
B
B
‘A Christmas Offering’ (1944)
Flourish
‘A Christmas Offering’ 1944
FLOURISH
Allegro maestoso
! W O O O
O
C C
W C CCO BBO C C CCO
C C CCO
| O B O C C O
O CCC C C C O
ff
# W W | R B B
B
CCO
O
O
C
C
C
C
O
BBO
O
S R B B
B
5
9
! W W
C C
C X #
C O O CCC C T OO C C C CC
# W W R O
CCO
O
C
C
X C
X C
k gi
T OO C
C C
BB
B
B
B
mf
C
C
CCO CC O C C C C CC O
C C
# W CCO
C W CC O CC Ċ C
CC CC O
CC CC C O C C
O Ċ Ċ B S
O O
.
!
G
G G
ff
# W W C C C C C C.
C.
C C C C C B
S R B
C C C C C. C.
B
B
B
G
C
C
C
C
G
C
C
13
! W W
C
C C
C
O
O
C C CCO
B O C C O
C O
TUU
CC CC CC
CC CC
CCOO
BBO C B O C C
C O
O
# W W R B B
B
B
B
B
B
R B B
B
R B B
B
18
! W C CC OO C C
W C A
C O C OO CCC
#
# W W B
B
mp
G
C
C
PEL08d
‘A Christmas Offering’ © Alexander Turnbull Library Endowment Trust
CCO CC O CC CC CC O
CC CC CC O
CC Ċ C .
C
C
This edition © 2019 Promethean Editions Limited PEL08
PEL08 – 6
ISMN 979-0-67452-131-4
C
C
G
C
C
C
C
G
C
C
C
C.
C.

!
CC
C
CC
C
CCCC
CC
C
CCCC
C
C
C
CC
C
CC
C
BBBB
T
CC
C
CC
C
jhl
CC
CC
C
C
C
C
CC
C
C
C
h
C
CC
C
C
jhl
igk
C
C
CCCC
CC
C
CC
C
C
S
C
CC
C
!
C
C
C
C
T
C
g
B
B
!
jhl
CCC
CC
C
CCC
C
C
C
S
22
# W W C C CC O
C C C C C O
# W W C
C
G
C
C
C
C
G
C
C
C O
U U T
Ċ Ċ B S
C.
C
C.
B
B
mp
C
C
CC
C
G
C
C
CCO
O
CC
C
C
C
CC
C
G
C
C
CCO
O
CC
C
25
CCO
# W O CCOO
W O
CCO
O
CCO
O
!
CC
C
CCO
O
CC
C
CC
C
CCOO
O
CC
C
# W W C
C
G
C
C
C
C
G
C
C
C
C
G
C
C
cresc.
C
C
G CC
C
C
G C
C
C
C
G CC
28
!
eva
W C W C O
CCO
ff
G
# W W OO CC !
C
C
CCCCC C
CC OO
CCOO
CCCC C C
CC CCOO
#
CC
C
CC
C
CC
C
CC
C C C
C
CCCC CCC
CC
C
G CC
C
C
CCO
O
C
CCOO
OO
eva
C
CC
CCCC C C
31
!
{eva}
W C W C OO
CCOO
#
W W CCOO #
CC
C
CC
C
CC
C
C
C
CC
C
G
C
C
CCO
O
CC
C
C
C
CC
C
G
CCO
O
CCC CC
CCC C
C
G CC
C
CCOO
O
CC
C
C
C
G C C
CCOO
O
CC
C
34
!
W W
CC C
CCO
O
CC
C
CC
C
CCO
O
# W
G CCC
G
C CC
W CC
!
CC
C
CC CCOO
C
CC C OO
CC
C
C # C C
C
CC
C
CC
C
CC
C
CC
C
BB B O
BBO
O
O
S
PEL08 – 7 PEL08 – 7

B
BB
B
B
C
C
C
C
C
B
C
C
B
C
B
C
B
B
B
B
B
CCC
C
C
C
B
CCCC
C
#
C
C
B
B
CC
C
C
CCC
C
B
B
CCC
C
B
C
C
C
B
C
B
B
B
C
B
C
C
Four Preludes
FOUR PRELUDES
1
! W Allegro = 144-152
4
3 C C C C C C C C C C C C C
mp
C C
# W 34 Q Q Q Q Q Q X B C X B C
cresc.
X
B
B
X
C C
9
! W B O
sf
# W Ċ
C
p
X
C. X C.
O B O B
C
C.
C
C.
C
C.
O B O B
C
C.
C X C
C. X C .
B C C
C C C C
O
O
C
C
C C CC C C C C
C C C C C
B B C B C C C C B C
18
! W C
cresc.
# W X B CC
X
B
B
X
C C
W C C
C
C
W BBO
O
sf
Ċ
C
p
C
C.
X C
X C .
BB O
C
C.
C
C.
C
C.
BB O
Y C
Y C .
C
C.
C
C.
C C C C C
W BB CCCC
p
X
X
O
O
O
W C W CC CC
cresc. poco a poco
BB O
26! W O
C C C C C
CC
W
W
B CC CC
C CC CC C
# W X X O
BBO
O
O
BB O
C CC C
X B
C C
C X B
CC X C
X B B
X B
CC
C
X BBO
BBOO
X .
X
Ċ
C
Ċ
C
BB BBOO
Ċ
C
Ċ
C
Ċ
C
BB BBOO
Ċ
C
Ċ
C
C
C.
B X BBO
O
X C
X C .
C
C.
C
C.
35! W BB BBO
O
# W
C
C.
C
C.
C
C.
BB BBOO
C
C.
C
C.
X C
X C .
W CCC
ff
B
B
C CCC
C
C
!
C
C
W CC
C
CCC X CC
C
C
C
C
BB
B
C CC C
C
C
W B
B
B
W
C
C
W CC
C
CCC X CC
CCC
C
C
C
X
X
B
C CC C
C
C
PEL08 – 8 PEL08 – 8

BB
-
C
C
BC
C
C
B
-
C
C
-
B
C
C
C
B
C
C
C
C
B
C
CC
-
B
C
C
B
B
C
S
B
C
CC
S
S
C
C
B
B
B
C
S
S
B
C
B
B
C
S
-
B
S
C
B
?Q
C
¯
-
2
43
! W C C
C
51
# W
W X C B
BB C
C C C C X C
X B
X B
C C
C
C
C C
W X C B
BB C
CC
C
C C X CC
W C CC
X B
X B W C C C
B W BBO
O
sff
C
C.
p
Ċ
C
BB B O
Ċ
C
Ċ
C
C
C.
BB B O
X C C X C.
C.
! W B O B O O
BB # B S B B C
BBO
B B
BBO
O B O B O O
B O
O C B B C
BBO
O
B
- - -
# W
60
# W
8
C
C.
sonore
C
C.
C
C.
C
C.
C X C
C. X C.
C
C.
BBO
O
C
C.
C
C.
C
C.
C
C.
C
C.
C
C.
C
C.
C
C.
C
C.
C X C
C. X C.
B
BBO
O
O C
BBO
O
B B O C
BBO
O B
B
B O C C S S C
O C S S C
O C S S
O
- -
dim.
# W
C
Q
C X C C C X C C C X C C C
C. C. X C .
C. C.
C. C. C. X C .
C. C.
C. C. C. X C . C C C
Sostenuto e velato quasi lontano = 152
# 3 8
5 8 2 T C C C C C C
CCOO
C O C O CCC O 4 !
h C C C
ppp
pp
# 3 g
8
5 g 8
2
O O
4 B
C C C B
con 2 pedale
g
C
C.
C
C.
C
C.
C
C.
C
C.
C
C.
C
C.
BB B O
C
C.
C
C.
B
¯
O
C
C.
C
C.
C C C C C C C C C C C C
BBBB
! T C C C C C C
C C C 3 #
C C C C 8
C C C C C T C O 5 8 CCC O 2 4
h C C C
CCCC
pp
#
BBBB
3 8 h g g 5 g 8
2 4
C C C
C
C.
C
C.
14
# 2 T C C C C C C
4 ! C C C C C C C C C C C C 3 C #
8
C C C C C T CCOO
5 8
#
CCCC
pp
2
BBBB
4 B
3 8 h g g 5 8
B
PEL08 – 9 PEL08 – 9

T
T
BBB
CC
C
B
B
C
C
C
h
g
C
h
g
B
CC
C
C
g
C
C
C
C
h
g
C
CCC
h
CC
C
C
B
B
B
B
h
B
h
g
C
B
B
C
C
C
g
C
C
g
C
C
CC
h
CC
C
C
C
C
h
g
C
C
CC
C
B
C
h
g
C
C
CC
h
20
# 58 C O C C 3 O 8
5 8
C O C 3 O 8
5 O
C C C
C C 8
3
C O
C C C 8
poco cresc.
sf p
# 58 3 8
5 g 8
3 8
5 8
3 8
C C C C
C C C C
C C C
26
# 38 O 5 8 O C C C 2 T C C C C C C 4 !
T C C C C T 4
3 T C C C C C C C C C C 2 4
pp
dim.
# 38 5 8
2 CCOO
B 4 4
3 BBOO
2 4
O
31
! 2 T C C C C C C T C C C C T 4 4
3 T C C C C C C C C C C 2 T C C C C C C T C C C C T
4
pp
p
# 2 W 4 CCOO
4
3 W BBO
O
2 CCOO
4 B
B
36
C C C C C C
! 3 C C C C C C C C C C C C 8
2 T C C C C C C
4
poco cresc.
mp
C
# 3 CCO
O C
CCO
O
8
2 4
C C C C C C C C C C C C
-
BBBB
42
C C C C C C
! 3 #
C C C C C C C 8
C C C C C T 5 C 8 C O
CC 3 C 8 O
-
#
CCCC
pp
dim. possibile
BpB BB
3 8
5 8
3 8 O
CC
O
O
CC
O
O
O C C?
O
O
¯
PEL08 – 10 PEL08 – 10

#
#
#
BB
B
B
h
h
B
B
h
h
B
h
h
h
BB
B
B
h
3
C = c.60
G
! 2 4 C Y C C C C C C C C CY
C
p quasi narrante G
C C
#
C C CO
2 4
C C
C
CO
W C
CY
C
CY
C
G
C C C C C C
C CY
C
G
Y C
C C C C C C CO
C C
C
6
!
11
!
CO
Y C
W C
C
W C
C W C
C C W C
CW
C
C
C C
G
W C
CO
C C W C
C C C C C C
W
C
J
C
C
C W C C C W C
CW
C
mp
W C
pp
C
C C W C C C
G
W C
C
C C W C C C C C CCW
C
C
C
B
B
C C C C C C
I
W C
poco cresc.
rit.
C C C CY C
C
W C
C C W C
CW
C
C C
G
W C
a tempo
CY
C
p
C
C C C C C
I
G
C C C C C C C
Y C C C
C
15
!
CY C C C
CO
C
CO
Y C
CW
C
C
C C C
C C C
C C
cresc.
CY
C
CY C C C C
f
C C C C W CO
C CO
C
C
C
C
C
C
C
B
dim. p
Y C
Y C
C
C C
C
C
C
C
C
C
C
4
5
Adagio sostenuto
# 4 T W W C C C C C C C T WW C
# 4 4 B
pp
C g
C
X C -
# XW O S T W C
#
BBO
O
O
S
pp
g
C
X B
X B
C C C C CX
C
C g
C
C C C CW C C T W C
X C C C B
B
X C -
g
C
WW C C C C C C C C WW C
W CO
W CO
g
W C
C C C CW C C T W C
X C C C X CO
X CO
W CX C C C CO
C C C C CW
C
W CX
CY C C CO
C C C C C CW
C
g
W C
C C C C C
g
C
CO
C g
C
C C C C C C C
O C
C g
C
PEL08 – 11 PEL08 – 11

C
C
BB
C
B
C
C
C
C
C
C
C
C
h
C
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pp
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PEL08 – 12 PEL08 – 12

#
#
#
#
#
C
C
C
C
C
C
g
CC
h g
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C
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Willow Song
WILLOW SONG
[Allegretto]
! YY 6 g 8 C
p
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h
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11
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PEL08 – 13 PEL08 – 13

#
#
#
#
B
B
B
B
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Vivace
VIVACE
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! YY Y Y Y Y Ċ
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p delicatamente
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PEL08 – 14 PEL08 – 14

#
#
B
B
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C
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PEL08 – 15 PEL08 – 15

Ċ
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Two Diversions
TWO DIVERSIONS
1
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15
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PEL08 – 16 PEL08 – 16

#
#
#
#
B
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pp
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C
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poco cresc.
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CY
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57
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C.
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C.
B
B
C.
C.
C C C C
I
pp
C.
C
PEL08 – 17 PEL08 – 17

#
#
#
B
B
B
g
B
B
B
g
B
B
g
B
S
B
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69
!
Y C . Ċ Ċ B
C
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76
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ff
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82
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88
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Ċ Ċ Ċ Ċ Ċ Ċ S
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sf
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PEL08 – 18 PEL08 – 18

C
C
C
C
C
C
CC
C
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S
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! W S C C C C C C C C C C C C C C C C
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pp
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p
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PEL08 – 19 PEL08 – 19

C
Ċ
Ċ
Ċ
CĊ
C
Ċ
C
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B
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sf
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p
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41! W Ċ Ċ Ċ Ċ Ċ Ċ Ċ Ċ Ċ
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48
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PEL08 – 20 PEL08 – 20

#
#
#
#
#
B
B
B
B
B
S
C
C
C
B
B
S
B
B
B
B
B
B
S
B
B
B
C
C
C
C
C
C
B
B
B
B
S
B
S
S
B
B
C
C
C
C
B
B
C
C
C
B
C
B
B
B
B
B
B
B
B
B
BBB
B
B
B
B
S
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
BB
B
S
B
B
BB
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
Thoughts during Christmas-week (1944)
THOUGHTS DURING CHRISTMAS-WEEK 1944
1
Moderato
! Y3 4 : S
CC. C. C C.
C
p
Y 4 3 : O
O
BB C C. C C .
B
B
O
O
O
O
C
C
C
C BB C C CC CC .
C C.
O O
O O
C
C.
O B O
O
O
O
O
CC. C C. C C.
BB C C. C C .
O
O
9
! Y B B
C
C.
Y
O
C
C.
BB
C C C C.
O C
O C.
C.
C
C
C.
C C.
C
C.
BB O
O
O
mf
O
O
CC.
C C.
CC.
B B C C.
O
O
C C.
BB O
O
BB O
O
17
! Y
CCC
p . CCC.
Y C
C .
C
C.
CCC.
C
C.
BB O
O
mp
O
O
CC.
CC.
CC.
B B CC.
O
O
C C.
O
C
CC
C
C C
B
BB
O
C
CC
C
C C
Ċ
CC
C
C.
Ċ
CC
C
C.
CC
C.
C
C.
BBOO
O
O
25
! Y S
f
Y B
O
C
C
C
C
C
C
O
C
C
C
C
C
C
O
C
C
C
C
C
C
Ċ
C
C
C.
Ċ
C
C
C.
ĊCS C
C
C
C
C
C
S C
C
C
C
C
C
Ċ
C
Ċ
C
C
C.
C
C.
O
X
O
W O
O
O
BBO
O
O
33
! Y C
O
C
: # W
C C O h C C C C C C. C. C C C. C. C C C. C. O
p
Y : W
O O
BBO BBOO
O O
X
W O O
O
O
BBO
O
PEL08 – 21 PEL08 – 21

!
!
B
B
C
B
B
B
S
C
:
:
B
B
C
C
S
C
C
B
B
S
C
S
B
S
C
B
B
C
C
S
C
C
C
B
B
S
C
CCĊ
C
C
CCĊ
C
C
B
B
B
B
B
BB
C
B
B
B
B
B
B
BB
B
C
C
B
B
B
C
CC
CCĊ
C
C
CCĊ
C
C
CCCĊ
C
B
B
B
B
B
B
B
B
C
S
C
:
2
41
# W : S C C. C. C C B C C C O
C.
!
B C. C. C. O
f
# W B : B O ĊC ĊC ĊC B O
!
C C C B C C C C C C . O
p
BB
C
C
O B O B
B
B
C C W .
BB
O
#
#
49
# W
# W
S C C. C. C C.
C
f
BB ĊC ĊC ĊC
O
C. C. C. O
O
Y O
C C C B
Y C C Ċ O
! Y
:
p
! O
B O :
Y
Y
X C
Y B O
X
C
CC .
O
3
57
!
W
W
pp
C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C B C
C C C
O B
C C C
C C C
C C W C
65
!
W C C C C C C C C C C C C C C C C C C C C
C C C C
C Ċ Ċ Ċ O B
W #
W
X
C C W C
C C X C
C C C
C C C CC.
C. C C. O
73
!
W C
f
# W BB O
C C C C C
C C C C C C
BB O
C
C.
C
C.
CĊ
C
C
C.
BB O
BB O
C C C C C X C
BB O
C C C C C C
BB O
C
C.
C
C.
C
C.
BBO
O
O
81
!
W T CĊ CC T CĊ CC CĊ CĊ BBO
C C C C C
C C C C C C O C C C C C C C C C C C C C B
h h
O
# W O
O O
O
B O O B O W . W .
B S :
B O
B O
C.
PEL08 – 22 PEL08 – 22

S
B
S
B
B
B
B
B
B
C
B
B
B
B
BB
B
B
C
C
B
B
B
B
B
B
B
C
B
B
B
S
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
CC
h
h
C
B
B
B
B
T
B
B
S
B
B
B
BB
B
B
B
C
B
B
g
C
T
B
B
B
B
B
B
B
C
B
B
B
B
C
B
B
g
B
B
T
B
B
B
B
C
S
S
C
B
B
B
B
S
S
B
B
B
B
B
B
T
S
B
B
:
C
4
89
! W : S C
p
# W : O
O
C C C C C C C B C S C
X
X
O
O
O
O
O
C C C C C C ĊC ĊC ĊC W B O S C
O
O
O
B
B
C
C
O
O
98
! W C C
C C C B B C C S C T S C
G
: # X
C C
cresc.
f
C.
# W O
O
: X
O O O O
O
O O C
C
5
# : S C C C C C
# :
105
. C. C. C.
ff
O
CC C C. C. C C C S C C. C. C C C G
C C C C Ċ T S C C
h . C C. C C. C.
C
O
O
O
O
C
C
G
C C
g
C.
O
O
CC C C. C. C C C G
C C C C Ċ T
h
O
O
C
C
G
C C
g
C.
O
O
113
#
ĊCĊC ĊC ĊC CC Ċ C
Ċ C
CC CC Ċ C
Ċ C
CC CC C C C C
Ċ T
ĊCĊC ĊC ĊC ĊC ĊC ĊC ĊC ĊC ĊC ĊC BB S
!
#
B :
B O CC
C
BB CC
sf
C
BB B O B O B O
O
sf
O
6
121
! : BB O
f
# :
O
BB O
p
B O
(2nd time )
B O
B O
Y C Y B O B O
B
BBOO
C BB O
B O
Y O
B O
B O
Y B O
B O
129
! B B BB :
O B Y
O B B
O BBOO
C BB O
BB O O BB O
# B B :
O O O O
O O O O
BBO BBO BBO BBO
PEL08 – 23 PEL08 – 23

B
B
B
B
B
B
BB
B
C
S
B
B
B
C
C
C
B
B
B
B
B
B
C
B
B
B
C
B
B
B
C
C
B
BB
B
B
B
B
B
BB
B
B
B
B
B
B
S
B
B
B
C
B
B
B
C
C
C
B
B
B
B
B
B
B
C
B
B
Ċ
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
C
C
C
B
B
B
B
C B
B
B
Ċ
B
B
B
B
S
C
C
C
B
B
B
?
B
B
B
B
B
B
B
¯
B
B
#
7
#
137
! : O
BBO
pp
: O
BB O
B O
(2nd time cresc. poco a poco)
O
O
O
B O
O
B Y BBO
O
Y
Y
O
O
B Y BBO
O
O
O
BB BBOO
O
BB BBOO
O
BB B O B : ?
B O W W BBO
O
B W BBO
O B O
W BBO B BBOO
BBO BBO
O O
( ff 2nd time)
# O
O O
O O
O B C
O
:¯
O O B C O O
145
!
2nd time
153
# : B O
O
O
O
O
O
O
O
O
O
O
O
8
p marcato
cresc.
G
# :
B C C B C C B C C B C C B C C
C B C C
mf
W >
Y C > C > B O
161
#
WW W O
sf
# S
G
C
B O
BBO
O
O
WW W O
sf
S
G
C
BB O
B B C C
p G
O
O
O
O
O
cresc.
!
W
C B C C W C
OY C B O Y C
Y C B O
Y C
Y
169
! BBO
O
BBO
O
BBO
O
BBO
O O O O O :
ff G G
G sf p G sf p
# S S S S
S Q :
O
!
PEL08 – 24 PEL08 – 24

B
B
C
B
B
B
B
B
B
C
B
B
C
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
C
B
C
B
C
B
B
B
B
B
B
C
C
C
C
B
B
B
B
B
C
B
B
B
B
B
B
B
C
C
C
C
C
C
B
B
B
B
B
C
C
C
B
B
B
B
B
B
B
C
C
C
C
C
B
B
C
B
B
B
B
C
B
BB
B
B
B
B
9
177
! :
C C C C C C C C C C C C
Y
W BBO
O W BBOO
W BBOO
W BBOO
W BBOO
pp
! : Y C X C C Y C X C C Y C Y C C Y C Y C C Y
Y C
W
Y
Y
BBOO
Y C
W BBO
O
X O Y C C Y Y C C C C
W BBO
X O
W C C
W C C C C
con 2 pedale
185
C C C C C C C C C Y
C C C C C W C C O
! X BBOO
X BBOO
B O B O B O B O C BBOO
C C X BBO :
! W C C W C C C
Y Y W X
W W W W C W O :
10
193
!
!
O
BBO
pp
O
O
BBO
O
BBO
O
O
B
B
O
BBO
C C
O
O
O
Y BBOO
O
BBO
BB
O
BBC C
Y B B O
201
!
O
O
O
BBO
O
O B O B
O
O
O
O
O
!
O
O B O B
O
O B O B
O
W
O
O B O B
#
O
!
209
!
O
BBO
O
BBO
O
B
B
C C
O
O
O
BBO
BBC C
!
O
O
BBO
O
#
O
!
O
Y BBOO
O BBO
#
O
!
217
!
O
O
O
BBO
O
O B O B
O
O
O
B?O
B O
W W
W
!
O
O B O B
O
O B O B
O
W
O
O B O B
#
O B¯
!
W W
W
PEL08 – 25 PEL08 – 25

CC
C
BB
C
C
CC
S
B
BB
B
C
B
B
C
C
C
C
C
C
B
B
B
:
C
B
B
B
C
B
BB
C
C
B
B
C
C
C
C
C
B
C
B
CC
B
B
B
C
B
C
C
C
C
C
B
B
C C
C
B
CC
C
C
C
C
CC
C
B
B
C
B
BB
S
C
C
S
S
B
B
C
C
:
CC
B
S
B
B
S
S
C
C
:
11
225
! W W W :
C C C C C C C
C C C C C C C C C C C X C C C
! W W W pp
: B B O B O O B O B O
X CC
CC CC
C
C C C C C
BB
O
W CC CC CC
C C
233
! W W W 1.
C C X C X C C C X B eva
X C X X X C C
C C C C Ċ Ċ Ċ B
C
! W W W X O
BB O X C C C C X C C X C C X C C C X BBOO
W BBOO
ĊC ĊC ĊC B B
S :
12
! W W W 2.
241
C C C C B B
ff marc. B
! W W W S # :
B B B C
CC
C
B
B
BB
B
C
C
CC
C
B
B
BB
B
C
C
CC
C
C
C
CC
C
C C C C C B B
B
C
C
246
! W W W CC
C
BB
B
# W W
W B
B
C
C
CC
C
B
B
BB
B
C
C
CC
C
O
C C C C C C C B B
B
B
BB
C
C
CC
C
B
B
BB
B
C
C
CC
C
B
B
CC
C
CC
C
C
C
252
! W W W C C X
1.
X B B X CC B X .
I X X BB X
# W W
W
C
C
C S X B
!
X B
C C C C
# :
X
X C
X
X
X B
X
X
X B
C
C
B
B
2.
BBS
B
B
13
258
! W W W :
C O C B B O C O C B B O C O C B C O C B C W C
p
# W W
W : Q C C BB Q
C B S S C C C B
X B C B B
B C BBO
O
X
O
CC.
CC.
O B O B
BBO
O
B O
PEL08 – 26 PEL08 – 26

C
C
S
B
ig
C
C
ig
C
S
S
g
C
C
jh
T
T
BB
g
C
g
S
S
h
T
S
C
B
S
C
ig
C
S
CB
S
g
C
ig
C
T
T
C
C
S
g
C
g
B
C
T
ig
C
T
T
C
B
g
C
C
g
S
B
B
T
B
B
B
g
C
S
C
S
C
C
ig
C
B
B
C
S
T
T
g
B
B
C
B
C
C
S
S
C
B
B
CC
B
B
C
C
jh
B
B
h
C
B
B
B
g
g
C
T
T
T
B
B
C
C
B
B
C
C
-
B
B
B
B
C
jh
ig
C
S
S
S
S
C
h
B
:
T
T
T
S
266
! W W W . .
:
C C B
W C B B C C B C C B C C C
W O O O O O O O
p
# W W
W CC C BB B
BC C B B S S CC C C C X
X B Y C B X Y C.
B
!
14
274
! W W W C OO
Ċ T S OO
C C g
C.
OO
C C g
C.
OO
C Ċ g
C.
p
! W W W Q Q
C OO h j C g
C. C OO h j C g
C. X OO
X
h j C
C.
X
OO
X
X
279
! W W W S OO
X
X
X .
T OO
X
X
X .
T S
g
X C
W .
T S
OO
Ċ T S OO
! W W W # Q
OO
!
C. OO C.
OO
C C g
C.
g
C.
284
! W W W OO C C g OO C C g OO
X
X
: # W W
C. C.
X T OO C C g T S S g
. C. W X .
! W W W # : W
OO
W
C. X OO OOW
T
C.
C. X OO
W BB
C. O
15
290
Confidential – Interlude
# W W S C.
C. C .
S C.
C. C . C. CC S S
C C C C.
.
! X
ff
p
# W W Y O
C C C C. C.
C. C. C.
C. C. C. CC. Y O
X
Y C C C W C C C Y C C BBB S
O
O
O
O
O
O
B
B
298
! W W
.
ff
C C C C
# W W
C C C C.
C.
C.
C. C.
C. C.
CC.
S CC .
CC.
CC .
C C.
C C. CC.
CC.
CCC. Y B
CCC. Y O
Y O
Y
p
Y
Y C C C W C C C Y C C B BBOO
O
O
O
O
O
O
B O
PEL08 – 27 PEL08 – 27

#
#
B
B
B
B
B
#
#
CC
B
B
C
BB
B
B
B
C
B
C
B
B
B
B
B
B
C
C
B
C
S
B
B
C
S
B
B
BBB
S
C
C
S
B
B
C
C
B
B
B
C
C
B
B
B
C
C
C
C
C
B
B
C
B
B
C
C
B
B
#
B
B
C
C
B
B
C
B
B
B
B
CC
BB
B
B
C
B
B
B
C
S
B
S
B
B
CC
S
C
C
B
B
C
C
B
B
C
B
B
BB
S
S
B
B
S
C
C
B
B
C
C
B
B
B
S
B
B
B
B
:
C
16
306
! W W : S
pp [ ]
# W W : !
O
C C C C C C C C C C C C X C C C C C C C C C C C C C C C C C C C C W C C C C C C
Y
X C C Y C
X
O
O
!
Y C C Y C
Y
Y
X
! W CCC Y X C Y C X C C
W S S S S #
! : Y
Y X C C C Y C X C C S C C C C C C C W O
! W O
W # Y
:
C Y
C C C C C C C X C Y X Y O O
314
17
322
! Y : O
Y :
f
O
O
BBOO
O
p
(2nd time )
B
B
C
C
BBO
O
O
BBO
O
BBOO
O
BBO
O
BBOO
O
O
BBOO
B
B
C
C
BBOO
O
O
BBO
O
BBO
O
O
BBO
O
330
! Y
BBOO
BBO
O O B B
W BBO
B O B :
O BBO W BBO
O X O
Y O O
sf
sf
Y O
O
O
O
:
O
BBO
O
BBO
Y Y O BBO
O Y B
18
338 C C C
! Y :
C
pp
Y :
O
Y C B C
O
O B O
BBO
C
C.
C
C. Y CC
.
CC.
O B O
BBO
O
C C C C C
O
Y C B C
O
O B O
BBO
C
C.
C
C. Y CC
.
CC.
O B O
BBO
B
B
C
C
346
! Y #
C C C C Y Y Y Y Y Y
O BBB XY CC
Y O O O O
sf p
Y X O O X C X S :
X O O X C.
C. C. C. X B . C. Y .
CC. C. Y .
CC.
PEL08 – 28 PEL08 – 28

S
C
C
C
C
B
S
TU
C
BB
B
B
S
C
C
TU
U
C
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PEL08 – 29 PEL08 – 29

BB
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PEL08 – 30 PEL08 – 30

#
#
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PEL08 – 31 PEL08 – 31

S
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PEL08 – 32 PEL08 – 32

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PEL08 – 33 PEL08 – 33

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Sonatina No.2 1962
9
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Sonatina No.2 © Alexander Turnbull Library Endowment Trust
This edition © 2019 Promethean Editions Limited PEL08 – 34
ISMN 979-0-67452-131-4

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PEL08 – 35 PEL08 – 35

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PEL08 – 36 PEL08 – 36

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C
T
C
C
CC
T
C
g
h
T
C
C
C
T
h
C
Ċ
Ċ
C
C
CC
C
C
TU
C
C
C
C
C
C
C
C
C
g
C
C
h
T
C
h
U
C
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g
C
C
C
C
g
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T
C
h
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C
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T
C
C
C
C
C
C
S
C
C
h
T
C
C
C
C
C
C
C
C
C
C
C
C
C
h
CCC
C
C
C
T
C
C
114
!
#
O
C C C
-
O O O
C C C C
-
C- h C O
-
C. C. C
O
O
mp
C-O
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O
W C C C C C Y C
Y >
( )
Y
Y
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C.
Y C .
121
! T 5 8
3
C . W C C . .
W C . W C W .
O Y . Y C Y C Ċ Ċ C .
T T U W . W C . W C.
W C . X C . Ċ Ċ Y C . Ċ Ċ
8
#
O
O
ṗoco cresc.
! 5 #
T Ċ Ċ Ċ Ċ Ċ
W O C C
O 8
C O 3 8
127
-
X
W
CC C
CCO
C ! 3 CCO
8 W mf - O
C CCOO
C CCOO
# 3 8 C-O
C O
-
W CCO
WW
X O
f
-
C CCO C O
CCO
C CCO C O
CCO
C-O
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-
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W
O
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ff -
CC CCO
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mp
O
.
W
.
W
W
138
! T
#
X C C C
CCO C
W CCOO
g
C C C C C
C CCOO
p
W
-
T O
C C C C
O
C C C
C
-
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O
C C
O
C
-
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Y Y X C O O O
O
C
mf - C-O O O
-
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g g Q Q
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Y . W W C C
W Y C C
O
.
C.
145
!
PEL08 – 37 PEL08 – 37

C
C
S
B
B
C
B
C
S
g
C
C
C
B
B
C
C
C
B
C
C
g
C
B
g
C C
S
C
C
C
C
C
C
g
C C
C
h
C
C
C
B
g
C C
C
C
C
C
C
C
B
C
C
C
C
C
g
C C
R
R
C
h
C
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C
C
C
C
C
C
S
C
C
C
C
C
S
C
C
S
S
B
B
C
C
S
C
C
CC
B
C
C
C
C
S
B
B
C
C
C
C
C
C
C C
h
h
C
S
C
T
R
C
C
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C
C
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C
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C = c.132
II
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44
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#
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>
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poco rit.
g
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a tempo
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p Y > >
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C C C C C Y C
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9
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W
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13
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mf
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rit.
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17
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eva
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>
PEL08 – 38 PEL08 – 38

C
S
B
B
B
C
S
B
C
A
S
C
h
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C
S
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>
C
B
C
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h
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h
C
h
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C
C
C
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C
C
C
S
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C
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C
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g
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C
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C
g
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h
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h
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C
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A
C
h
C
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C
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h
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C
C
C
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h
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h
C
C
C
T
C
C
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A
C
C
B
B
C
C
C
C
C
C
C
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C
C
S
C
C
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C
C
C
C
C
C
C
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B
B
C
B
C
C
C
C
C
C
S
S
C
C
C
C
C
21
!
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{eva}
O
O
C
>
Y
O
O
W > S W >
O Y C C C O
C
>
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Y C C C
O C C C C
Y C C Y C C B C C C C B X B
O
poco rit.
C C
G C C
W G C W C C
W
#
,
25
29
a tempo
! S YY C C
p Y G C
#
X
W
X C
W
O
Y
Y C Y
G C
C C
cresc.
Y
Y Y C C
S Y Y C C C Y C
X C X B B
Y
Y
Y
! Y
C Y C
Y Y Y C Y C Y Y
Y B
S Y Y C C
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>
Y
f Y G C
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#
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33
!
X > B
B
YY C YY C C S YY C C
>
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# S B
>
Y
Y C Y
poco rit.
C C C C C Y C
dim.
X
X X C C
36
!
# O CCO
W C C W C
-
C C
p
W
a tempo
W C-
C C C C C C
W
Y
Y C-
C C C C
Y C C Y C
W
W
C C C
-
W
W
C C
poco rit. più lento
C -
C C C C C C C
O
G
C C C C C C C Y C C Y
Y C C C
G
X
Y mp
p
# Y
W O
W
W
Q
Y
40
!
C C
PEL08 – 39 PEL08 – 39

C
h
T
B
B
B
C
B
A
C
h
C
C
C
C
C
C
C
C
C
C
C
C
h
h
h
C
C
C
C
C
C
B
C
C
C
C
h
g
C
C
C
>
C
C
S
S
C
C
C
C
C
B
B
B
B
C
C
C
h
C
C
C
C
C
C
C
C
C
C
C
C
C
h
C
B
C
C
C
B
C
C
C
>
C
C
S
C
C
C
C
C
C
C
C
C
C
B
B
B
C
C
h
C
>C
C
C
C
C
C
C
C
h
C
h
C
h
C
? >
C
C C
h
h
C
B
h
T
T
C
>
g
C
C
C
>
g
C
CC
44
!
#
rit.
W
O
Y
O
W B
W B
C
Y
,
a tempo
f subito
U T
!
W
W
W
W C > C > C
W C > C > C C
C
C
eva
C
C
W >
C
47
!
!
{eva}
W >
O
O
O
C
>
W
C C C
C C C W C
>
W >
O
O
O
C
>
W
X C C
O
O
W S W >
C O
>
C
>
Y C C
Y C C C
50
!
!
{eva}
B
C
B h
>
W >
C C C C C
W B
>
,
meno
f
W
W
C C C C C C
W
W
W
C C C C C
W
53
!
{eva}
C U T C
C C C C C C C
C C C C C C
f
W
! W
W
W
W
W
W
W
W C
C C C C C C C
W
W
C C
W
C C C C C
W
O
57
! T C
!
mf
T
W
W
W
W
O
O
W
cresc.
W
C C C
W
W
C C C C
C C W C
allargando
W
C C C C
W
W
C>C > C > A
C
>
C
>
lunga
ff
W >
W ? B >
O
attacca
PEL08 – 40 PEL08 – 40

C
T
T
AA
R
A
B
S
CC
C
h >
C
g
C
C
Ḇ
C
T
C
T
C
S
C
h >
g
C
C
CC
C
C
S
C
C
C
C
B
C
C
C
g
C
C
T
C
C
C
C
C
g
C
C
h
>C
C
g
C
C
C
C
T
CC
g
C
C
C
C
C
C
g
C
g
C
C
h
C
C
h
B
C
C
C
T
CC
C
C
h
C
C
C>
C
C
B
B
C
C
Ḇ
C
= c.56 with freedom
Y
! 4 T C-O
C C - C - C B T C
G
p
! 4 C #
- G
Ḇ
!
Y - X W
W
III
C C C
G
W
W
G
W
p
Y
C O C C - C - C C W - X BBO
O
C - Ḇ C W C
Y - X C C -
#
!
5
!
!
W
X C >
CC
O
C
>
Y
C C
C > C C
C C Y C
C C C C C C W C
Y
C C C C C C
G
Y
C C C C C C C
G
C C C C
mf
Y C C W C
>
W C > C >
C
C
C W >
#
W C >
8
!
#
W Y C
AA
Y C
,
X C C C C C
ff
m.s.
p - - - - - -
lontano
pp - T C C C C
p G G
G
AAT
!
W
W W W
O
G
W
p
Y -
Y
C-O
C C- C- C
C-
C- C-
#
12
!
#
W B-
!
W
X >
CC O
C C C C W C
Y
C C
C C Y C
Y
C C C C
G
C C C C C C C
G
Y
C C C
G
C C C
Y
-O
mp
W C-
C C > C C O
W
W
O
15
!
!
U U T
W C-
C C > C C
W
W
U T
U T
C C C C
W
C C C C
C C C
C>C > C > C >
C
>
C
>
ff
W >
#
#
G
Y C >
CCO Y C C C C C O
G
g
C O C C >
O
g
C
PEL08 – 41 PEL08 – 41

S
A
B
B
C
CC
T
C
C
C
C
C
C
C
C
C
C
C
C
C
C
B
T
CC
C
C
AAAA
17
#
#
!
Y
p - C
Y
C
C
-
m.s.
lontano
C
-
Y
C
-
Y
C C
C
-
A A A
C
-
pp - C - C - h
C-O
!
p
Y
C-O
C C - C - C
Y -
C - Ḇ
#
21
!
#
morendo
!
X -
Y
O C- C C - C - C B T
#
!
Y
C-O
C C - C - C B O
C - C C
Y - - C - C - C - - C
W B
- - W O
#
W C -
CCC
W C -
CC
A
AA
A
PEL08 – 42 PEL08 – 42

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)