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Complete Piano Music Vol.7 (Preview)

Music by Douglas Lilburn | Piano

‘Christmas 1943’

‘Christmas 1943’ (1943) This parcel of six pieces gifted to Lawrence Baigent and Leo Bensemann opens with jubilant bells and a quasi-Russian psalm: entitled ‘Christmas 1812’, it seems to be summoning Napoleon’s retreat from Moscow as a hopeful war-time message (had Lilburn been reading Tolstoy’s account in War and Peace of Muscovites returning to their ruined city ‘like blood rushing back to the heart’ and listening to the Home Service broadcasts of war-torn Moscow in November 1943?). The set also includes a transcription of music for three violins Lilburn originally composed for the play-within-the-play in Ngaio Marsh’s 1943 production of Hamlet and a pseudo-lute piece entitled ‘Lady Wood’s Fancie’, which was written as a private joke occasioned by Olive, Lady Newall, wife of the governor-general, asking Lilburn at a party ‘How beautifully the bellbirds sing - why haven’t you used them in your music?’ (a caption under the title reads: ‘Don’t you think Mr —, that the New Zealand scenereh/ has rather a melancholeh beauteh?’). The second prelude is an earlier version of the one published by Caxton in 1945 and later in Occasional Pieces. Robert Hoskins, Palmerston North, 2018 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 seventh volume of the edition has been funded by Creative New Zealand and the HRL Morrison Music Trust. Promethean Editions, Wellington, 2018 PEL07 – vi

Editorial notes Prelude (1951) The copy-text for this edition is Lilburn’s holograph in the Alexander Turnbull Library (fMS- Papers-2483-016). Five Bagatelles (1942) The copy-text for this edition is Lilburn’s holograph in the Alexander Turnbull Library (fMS- Papers-2483-028). Bagatelle 1 98, 99 †ƒ added in pencil, presumably by Newson after discussion with composer. 135 Pencil accent added to 1st note in R.H. Presumably by Newson after discussion with composer. Bagatelle 3 44, 48 beat 2 staccato dot added to match m.38. 45, 49 beat 1 staccato dot added to match m.39. 71 Lilburn indicates use of two pedals but does not indicate a return to ‘tre corde’. It seems likely that this would be at the end of m.152. 127–129, 233–235 Slurs and stress marks added to match 95–97 169 Stress marks added to match 166–168 Bagatelle 4 – ‘From The Port Hills’ 1 The ° mark has been added in pencil presumably by Newson after discussion with composer and it gives a clear idea of how Lilburn expected the piece to be played (see page viii). 20–21 R.H. In Lilburn’s ms these two bars are at a page turn. We have extended the phrase across the bar-line to match similar passages. 37 L.H. In the ms the phrase ends on the first C octave, we have extended it to mirror the R.H. Bagatelle 5 The copy text has a pencilled change to the mm of Œ = 168, and the composers ∑ has been changed to ∆. We have not adopted these changes, presumably added by Newson, but performers should be aware that they were probably approved by Lilburn. 96–110 Accents and slurs have been added to the R.H. figure to match all earlier appearances of this figure. ‘Three Pieces’ (1965) The copy-text for this edition is Lilburn’s holograph in the Alexander Turnbull Library (fMS- Papers-7623-20). Third Piece 11, 13, 23 Lilburn ends his pedal indication with a wavy line which probably indicates a quick repetitive up and down of the pedal. ‘Christmas 1943’ (1943) The copy-text for this edition is Lilburn’s holograph in the Alexander Turnbull Library (fMS- Papers-3983-3). Third Piece The source for this version of the Prelude has several differences from later versions; the metronome mark here is Œ = 152 and in later editions Ó = 84. In bars 8–9 the Cs and Gs are all accented but not in this source. In later appearances bars 18–19 are significantly altered. The later version of this Prelude can be found in Volume 1 of this series. Rod Biss, Auckland, 2018 PEL07 – vii

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Lilburn Piano