Two
essays by the composer Douglas Lilburn have acquired
something of legendary status among those who have an
interest in New Zealand music.
"A Search for Tradition" was given at the Cambridge summer
music school in 1946, and "A Search for a Language" when
Lilburn received an honorary doctorate from the University of
Otago, in 1969.
The first is by far the better known, since in it Lilburn
attempted (among several other goals) to set out what he saw
as the requirements for a uniquely New Zealand dialect in
classical music. It was then, and in some minds is still, a
controversial recipe, dividing neatly those who agreed with
the necessity for a musical match with the developing
"national identity" by then obvious in our art and
literature; and those who believe "national identity" has
nothing (or very little) to do with musical composition.
Personally, I enjoy the continuing debate which, even among
close friends, still sparks vigorous difference. I'm on
Lilburn's side, if only because whenever I hear his
conventionally-written music, I am instantly transported to
New Zealand: it is of no other place.
But certainly, listening to today's composers, who - if they
only knew it - owe so much to Lilburn, it isn't difficult to
discern that the stream has indeed deepened (and broadened),
and remains in Lilburn's 1946 terms, divided.
His 1969 essay, delivered at a time when he had by any
measure achieved an unmatched status in New Zealand music,
also followed his creative switch to compositions based on
his pioneering exploration of sounds that could be produced
in the electronic studio. This was, in its way, as much a
leap into the unknown for Lilburn as was his invitation a
generation earlier to do likewise by conventional means.
The essay describes his experience, and explains why he did
what he did - specifically his search for a closer fusion of
experience and musical language - and also set out some of
the hopes he had for future composers following in his path.
In publishing these essays, together with introductions by
J.M. Thomson and an afterword by Jack Body, the Lilburn
Residence Trust has produced a most handsome and excellent
little book.
It was refreshing, for this reader at least, to re-read the
essays and to realise that many of the arguments Lilburn
advanced remain both valid and challenging. The book is
beautifully illustrated with watercolours and drawings by
Rita Angus, and other appropriate pictures.
Furthermore, there's a time line of the composer's life, and
a bibliography of selected scores and publications and
recordings. It would make an appreciated gift for any
aspiring composer.
• Bryan James is the Books Editor.
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