4 years ago

Complete Piano Music Vol.8 (Preview)

Music by Douglas Lilburn | Piano The Douglas Lilburn Complete Piano Edition was established to accompany Trust Records’ award-winning recorded collection of the same name. The final volume in a series of eight, it comprises Andante Sostenuto (1964), ‘Piece in E major’ (c. 1942), Prelude (1950), ‘A Christmas Offering’ (1944), and Sonatina No.2 (1962).

Editorial notes Andante

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 Œ = 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

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