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Complete Piano Music Vol.6 (Preview)

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  • Lilburn
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  • Lilburn
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  • Allegro
Music by Douglas Lilburn | Piano

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 C C C Heading the piece, Lilburn writes out the twelve- tone note-row adopted after the ‘Vivo’ fanfare and to the right of the title he writes out the last six notes of the Inversion, used in the ‘Vivo’ to correspond with Farquhar’s initials. Furthermore, the series is rich in micro-structures, for example the first six notes and the second six consist of the same intervals while each row and its retrograde is built as a palindrome reading from both ends to the middle (looking at the semitones it goes 51226 5 51226 and the retrograde ones are the reverse 62215 5 62215). ! C C W C C C W C Inversion ! C W ! C C W C W W Y Y C C X C W C C C C W C W Retrograde W C C C W C C C Y C W W CRetrograde Inversion Y X C C W C W C C C W C W W X X Theme from ‘Variations on a Theme by Douglas Lilburn’ (1948) Members of the composers’ group at the 1948 Cambridge Summer Music School collectively composed the Variations on a Theme by Douglas Lilburn. Lilburn, as tutor, provided a theme ripe with challenges. David Farquhar, Ronald Dellow, Edwin Carr, Dorothea Franchi, Ronald Tremain, and Larry Pruden supplied variations. Franchi recalled performing the set at the School’s closing concert ‘all except the final variation, which was still being written as I was playing the theme! Larry Pruden was always late & he ended up by playing his own variation, improvising the end.’ ‘Christmas 1942’ (1942) This is the second of four sets of Christmas pieces gifted to Lawrence Baigent and Leo Bensemann. It opens with ‘Christmas Piece for a Russian Mystic’ (probably Lawrence Baigent, whom Bensemann had painted as a ‘Russian Saint’), continuing with ‘Five Preludes’ alive with the imagery of pealing bells — Lilburn lived in close proximity to Christchurch Cathedral (the fourth appears in Occasional Pieces), and closing with a quasi-oriental piece for ‘musical box’ subtitled ‘Lin Tang thanks his friends for a birthday gift’ (presumably Lin/Lilburn received something Chinese). Robert Hoskins, Palmerston North, 2016 PEL06 – vi

Editorial notes Sonata for Piano in F Sharp Minor (1939) The copy-text for this edition is Lilburn’s holograph in the Alexander Turnbull Library (fMS- Papers-2483-078). The composer’s phrasing for the L.H. pattern established in bar 8 is frequently rather vaguely positioned. We have regularized it with a short hangover tie to the first crotchet of the bar, with a slur under the remaining notes of the bar. Lilburn’s style in this early sonata is more romantic than his later music. There is also often a complexity of ideas and counterpoints which, although always pianistic, do at times look like the short score of an orchestral work. Because of this complexity Lilburn has been more generous with phrasing than in later works, phrasing which follows the shapes of his ideas, sometimes between clefs and hands. This edition retains Lilburn’s phrasing which is sure to give the performer an interesting insight into his musical intentions. ‘Poco Lento’ (1960) The copy-text for this edition is Lilburn’s holograph in the Alexander Turnbull Library (fMS- Papers- 7623- 20). 4 L.H. Last beat, the ink ms is smudged here but it seems probable that the two quavers are both E’s. The Young Pine Tree (1945) The copy- text for this edition is Lilburn’s holograph in the Alexander Turnbull Library (fMS- Papers- 3983- 6). 6 The ms has a natural to the E but not to the G, however it seems probable that Lilburn intended a C major chord so we have added a natural to the G. 34–37 L.H. notes and ties with ° sign have been added to match 43–46. 67 R.H. last note in the ms is F, however we think it is likely that G was intended. Hommage à D.A.F. (c.1965) The copy- text for this edition is Lilburn’s holograph in the Alexander Turnbull Library (fMS- Papers-2483- 034). 9 2nd beat we have added a Í to crotchet which is not in ms but seems probable. 22 Lilburn’s πƒ has been altered to ƒπ. Theme from ‘Variations on a Theme by Douglas Lilburn’ (1948) The copy- text for this edition is Lilburn’s pencil holograph in the Alexander Turnbull Library (fMS- Papers-8360- 66), with reference to a manuscript in the hand of Dorothea Franchi in the Alexander Turnbull Library (MS- Papers-2483- 028). 18,19 R.H. We have added a crotchet rest for the 3rd beat of the lower part to match a similar passage in bars 16,17. ‘Christmas 1942’ (1942) The copy-text for this edition is Lilburn’s holograph in the Alexander Turnbull Library (fMS- Papers-3983-2). Christmas Piece for a Russian Mystic 15 L.H. This bar has too many beats, however based on the ms alignment we have deleted dots from the first minim chord. Five Preludes – Prelude 1 Tenuto stress marks have been added to bars 5/6, 16/17/18/19, 20/21, 28/29/30/31, 32/33 to match the same music in bars 1/4. Prelude 2 24,28 L.H. a ˆ has been added to the second crotchet A which is not in the ms but is needed to match the R.H. Prelude 4 This Prelude, clearly a favourite of the composer’s, was recopied by Lilburn for this Christmas collection. Compared with the collection in PEL01 it has here a slightly different marking, Allegro, and a different mm of Œ = 132. Rod Biss, Auckland, 2016 PEL06 – vii

Score Library

Douglas Lilburn Piano Lilburn Sonata Promethean Editions Allegro