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Complete Piano Music Vol.5 (Preview)

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Music by Douglas Lilburn | Piano

Editorial notes Chaconne

Editorial notes Chaconne (1946) The copy-text of this edition is Lilburn’s holograph in the Alexander Turnbull Library (fMS- Papers-2483-010) published in facsimile by the University of Otago Press in 1972, with reference to the Waiteata Music Press edition published in 2005. Trill signs: Lilburn writes trills with a wavy extension line following the ‘tr’, we have, however, dispensed with the wavy line in accordance with house style. Accidentals: A constant feature of the Chaconne’s harmony is the number of semitonal clashes, in particular between GÍ and Gˆ. The editors have added a cautionary natural to the G in bar 5, but from that point on the performer should assume that accidentals apply only to the bar and at the pitch where they occur. Grace notes: Lilburn writes grace notes that occur on the first beat of the bar before the bar-line. We have moved them to the usual position after the bar line, however, it is clear from Lilburn’s notation that the grace-notes anticipate the beat on which the main note is played. 5–6 Slur on RH lower voice added. 98 RH slur added. 112–115 Lilburn places a ° sign under the second beat of bar 112, however, he does not indicate where the pedal is lifted. It seems likely he wanted it held to the end of bar 115 as in our edition. 122 Slurs on second two groups added. 124 Slurs added. 315 Final semiquaver LH is amended to EÏ/F from D/EÏ in the holograph. 337–441 In these six bars Lilburn has indicated only one pedal mark, down at the start of 336 lifted at the end of 337. He has, however, added hangover ties to the semibreve A’s in 337 which indicate that he wants those low notes to be heard through the following bar. Although there is no pedal mark in the holograph for 339 it is clear from the music that the same effect is intended for 339–40. 371 The BÍ on the third beat of the RH has been queried by some performers who believe that Lilburn intended a CÍ, however, we have retained the holograph’s BÍ in our edition as it seems to the editors to be in keeping with the patterns Lilburn has established. 498 Whole bar rest added. ‘Six Pieces’ (1964) The copy-text for this edition is from a folder of holograph piano pieces and sketches in the Alexander Turnbull Library (fMS- Papers-2483-052); the order of these pieces conforms to the Trust Records recording. Time Signatures: In Pieces 1 and 2 Lilburn does not give a time signature, however, the grouping of notes and position of barlines will give performers a feeling for the pulse of these two pieces. In Piece 6 the holograph has time signatures above the stave which indicate the frequently changing pulse of the piece. They do, however, seem to contradict Lilburn’s own ‘with freedom’ instruction and may well have been an afterthought added in response to a query from Margaret Nielsen or Frederick Page. We have omitted the time signatures. Piece 1 Hangover ties added at barlines 3/4, 7/8/9, 11/12/13, 23/24/25, 28/29. Piece 3 24 Lilburn has written πƒ which is technically impossible on a piano. We have changed it to the more likely ƒπ. Piece 4 26 πƒ change to ƒπ. PEL05 – viii

Piece 6 4 L.H. tied crotchet added as in bars 1/2. Three Preludes (1943) The copy-text for this edition is Lilburn’s holograph in the Alexander Turnbull Library (fMS-Papers-3903-07), with reference to a second holograph in the Alexander Turnbull Library (fMS-Papers-7369-1). Prelude 1 2/3, 13/14, 54/55 R.H. slur added as in bar 1. Prelude 3 The holograph has the instruction ‘gravely but with feeling’ written between the staves. As it is not in Lilburn’s but in Frederick Page’s hand we have omitted it, nonetheless it seems probable that Lilburn would have been aware of the addition. Fred’s Birthday (1965) The copy-text for this edition is Lilburn’s ink holograph in the possession of Rod Biss (bearing the inscription ‘Frederick -/Das allerkleinste Stücke/für Ihr Geburstag -/ Douglas’ [‘The tiniest piece for your birthday’]), with reference to a ballpoint holograph (entitled ‘Fred’s Birthday’ without the dedicatory remark) in the Alexander Turnbull Library (fMS-Papers-2483-046/06). Rondino for a Birthday (c.1943) The copy-text for this edition is Lilburn’s holograph in the Alexander Turnbull Library (fMS-Papers-3983-4). In measures 3 and 4 there are staccato dots over the quavers and a slur over the four semiquavers and crotchet of measure 4. It is most likely that Lilburn intended this melodic idea to be played the same way in its many appearances through the piece and we have added dots and slurs accordingly. Rod Biss, Auckland, 2016 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 fifth volume of the edition has been funded by Creative New Zealand. Promethean Editions, Wellington, 2016 PEL05 – ix

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