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Complete Piano Music Vol.3 (Preview)

Music by Douglas Lilburn | Piano

Editorial notes Nine

Editorial notes Nine Short Pieces (1965–66) The copy-text for this edition is Lilburn’s holograph in the Alexander Turnbull Library (fMS-Papers-2483-044), with reference to the first edition published by J. Albert & Son in 1969 (reprinted by Price Milburn in 1985). In all Lilburn’s piano music he has a particular liking for small ‘hangover’ ties, which are a ‘laissez vibrer’ (l.v.) effect, most often used when there is a harmony or a single note that he wants to be held while a flourish of notes or more active part writing occurs above. One The l.v. effect described above occurs in the first bar of this piece and reoccurs several times. Lilburn does not indicate the pedal, but it is the obvious way to achieve the required ambience. Two The metronome mark on the composer’s ms is Ó = 108, however later copies have it marked at 116. We have presumed this to be Lilburn’s preferred marking. Three Lilburn provided no dynamic marking for this piece, the editors have suggested π. The composer’s manuscript lacks a number of staccato dots which appear in the first published edition (Albert Edition). We have presumed that they were added by Lilburn at this stage indicating that the piece calls for crisp, light playing. Five Lilburn’s metronome mark was Œ = 50, but on account of the many dotted crotchets, the editors have changed this to ‰ = 100. Six Lilburn’s metronome mark is Œ = 96. Performers may find it easier to work with a crotchet tied to a dotted crotchet mm of c38–40. Seven Although Lilburn has adopted the general 20th century concept of accidentals applying only for the indicated note at that pitch for one bar, he has in this piece added a few cautionary accidentals; the editors have kept these in place. Eight Lilburn’s ms has no dynamic, the ∑ which is printed in this edition was added later, probably with Lilburn’s agreement. Nine R.H. Bars 28–33 are slurred in the Albert Edition but not in the composer’s ms. We have preferred to respect the original version, however, the editors believe Lilburn’s intention was to suggest use of the sostenuto pedal at bars 22-23, 34-35, 36-37, 44–47 (or maybe to 49). Three Sea Changes (1945–81) The copy-text for this edition is the revised holograph in the Alexander Turnbull Library (fMS-Papers-3982-02), with reference the earlier original holograph of the first piece entitled Sea Change (MS-Papers-2483-018). Minor differences from the earlier original holograph are noted below. 1 sempre ritmico replaced with sostenuto, ritmico is moved to bar 5 in the later ms. 1 Below L.H. clef con ped. omitted. 4, 10, 28, 46; See note regarding the small hangover tie in Nine Short Pieces above. In the first Sea Change, in both the 1945 original and 1982 revision, he extended the slur from under the lower E in bar 4 and all similar places. We have not retained this but have substituted conventional ‘hangover’ ties indicating the laissez vibrer effect that we believe Lilburn intended. 8 (and similar passages) In his earlier ms Lilburn wrote the grace notes before the barline but he moved it to the conventional post-barline position in his revised copy. 20 Crescendo hairpin omitted. 21 R.H. Tenuto line over E omitted. 21, 22; Diminuendo hairpin for two bars omitted. 31 R.H. The octave leap of the first two notes (FÍ-FÍ) only are slurred. 34 Has cresc but omits the hairpin crescendo over the next two bars. 37 Ped indicated to be held for two bars omitted. 39 ƒ marking omitted. PEL03 – viii

41 marked dim without the indicated π at bar 43. 46 marked ππ, one bar later than in the revised ms where he also repeats the ππ at bar 47. 64 The phrase mark over this bar is extended to the FÍ in bar 65, with the B to B octave in that bar then phrased by itself. 66 Marked ƒ rather than ∑. 68 L.H. both notes (E and G) are crotchets rather than minims, the bar filled out with a crotchet rest. 69, 70 Both have Ped indications, then senza ped at bar 71, followed by Ped indications at bars 73, 85, 97, 98, 111. None of these appear in the earlier ms, and in the revised ms they all appear to be a later, possibly pencil, addition to the ms, but as they are in the composer’s hand we have retained them. 76 Marked ƒ rather than ∑. 77 R.H. 2nd beat has no staccato dots on quavers. 85/86, 97/98; The slurs over the first two notes and staccato dots in these bars have been altered by the editors to match bars 73/74. (Lilburn’s revised ms has a slur over the complete bar and no staccato dots.) 104 L.H. The accent on the 2nd beat is not present in the earlier ms. 105, 106, 107, 108; L.H. Accents on minims not present in the earlier ms. 111, 112; The earlier ms has a short slur from the L.H. upbeat in bar 111 to the chord in bar 112, with the long slur starting from the high accented E in Bar 112 and ending after the first four semiquavers of Bar 113. The semiquavers from 113 to bar 116 are then phrased in groups. Lilburn’s pedal indications in the original ms follow his indicated phrasing precisely. 117, 119; Indications for whole bar to be pedalled are omitted. 126/127; In the earlier ms the ∂ marking is at bar 126 (not 125). This piece makes a continual play between C major and A major tonalities, and the composer trusted the pianist to understand this. He did however add one cautionary natural to the C in bar 120 as it comes directly after a CÍ; we have retained the cautionary accidental. In all other cases the accidentals apply only in the bar and at the pitch written. II Prelude Essentially this piece comprises a series of chords with two florid lines above the chordal background. In Lilburn’s manuscript parts come and go and occasionally move from stave to stave and the composer was not concerned to fill bars out with rests. The editors have, however, added rests according to normal music notation practice. 3 The brackets around ππ are in the ms. ‘Seven Short Pieces’ (1965–66) The copy-text for this edition is Lilburn’s holograph in the Alexander Turnbull Library (fMS-Papers-2483-044). As already noted accidentals apply at specific pitch for that bar only. However, Lilburn has added some cautionary accidentals where he has thought there could be some doubt. We have kept Lilburn’s added cautionary accidentals in place and added some others where it might aid sight reading. Three 21 Fh time signature added (ms has it in brackets). 22 Eh time signature added (it is clear that this is intended). Seven Lilburn has seemingly given himself some liberties in later appearances of the fugue subject. The editors have left these as in the ms, but performers may like to look at the following three appearances and decide for themselves whether to make the questioned change: 19 top part last crotchet should be DÍ? 20 top part 3rd beat should be EÍ, DÍ, etc? 24 middle part 3rd beat AÍ? PEL03 – ix

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