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• Alfred Hill: Three Works for Piano Quartet  Year: 2002 

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This humorous piece could only have been conceived by a slightly warped mind! The title is a play on the 5/8 time signature and on the syncopation and ‘sinking’ theme evidenced throughout the music. Motivic devices such as inversion and retrograde are used extensively. The original version of the work was composed for mandolin and piano and performed in New Zealand in 1962.

• Twomey: Cinc!; computer-set 

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• Twomey: Cinc!; computer-set 

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• Twomey: Cinc! (Opus 5); computer-set 

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• Twomey: Cinc!; computer-set 

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• Reflections - Music Composed by Ray Twomey 

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• A New Dawning  Year: 1999 

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• Rimmer: Composition 2; electroacoustic part 

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• Rimmer: Compositions 1-5; electroacoustic part 

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• Rimmer: Composition 2; facsimile 

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• Rimmer: Composition 2; facsimile 

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• Chamber Works Vol 1 (NZ Composers Edition) 

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• Concertante Ensemble - Wind Quintets  Year: 1980 

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• Ken Wilson: Concerto for clarinet and string orchestra - hire set (handwritten score & parts) 

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• Ken Wilson: Concerto for clarinet and string orchestra - downloadable PDF (handwritten score) 

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• Ken Wilson: Concerto for Clarinet and String Orchestra - handwritten hardcopy score 

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• Ken Wilson: Concerto for Clarinet and String Orchestra; audio 

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• Wilson: Concerto for Clarinet and String Orchestra 

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• Farquhar: Concerto for Wind Quintet; facsimile 

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• Farquhar: Concerto for Wind Quintet; facsimile 

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• Concertante Ensemble - Wind Quintets  Year: 1980 

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Lilburn wrote these seven musical interludes in quasi-Elizabethan style; nonetheless one can still clearly detect his own compositional voice. The most extended music is that for the Willow Song, which in Shakespeare’s Othello is sung by Desdemona to her maid Emilia on the eve of the heroine’s death. Lilburn knew well how to handle the style of the melancholy vocal lament, translating the repeated ‘willow, willow…’ refrains of the original song into repeated skips of a falling third, and using the violin’s mid-low register. Broken chord accompaniment in the piano imitates the sound of a strummed lute. Lilburn Willow Song was heard together with the premier of two settings of R.A.K. Mason’s poems, Song Thinking of Her Dead, and O Fons Bandusiae in a 3YA broadcast on 29 November 1946. It was first performed two years earlier, though, as part of a production of Othello given by the Canterbury University College Drama Society, directed by Ngaio Marsh.

Lilburn Collaborated with Ngaio Marsh in five Shakespeare production sin the early 1940s; Othello was the second. Just as Marsh regarded his musical input highly, so Lilburn considered her to be an outstanding producer: "She had more understanding of Shakespeare than anyone else I have ever met’, he observed, ‘and an exquisite ear for the music and cadences of his verse’. The first two Shakespearian productions by this able team, of Hamlet and Othello, were a great success, so much so that the Drama Society toured with them to Dunedin, Wellington and Auckland.

• Douglas Lilburn: Violin and Piano Works  Year: 2011 

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• Lilburn: Landfall in Unknown Seas; computer-set 

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• Lilburn: Landfall in Unknown Seas; facsimile 

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• The Lindsay String Orchestra of Wellington: Landfall in Unknown Seas and other works 

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• Lilburn: A Song of Islands and other works  Year: 1986 

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• Lilburn: A Song of Islands  Year: 1986 

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• Lilburn/Watson/Pruden: New Zealand Chamber Orchestra  Year: 1993 

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• Alex Lindsay String Orchestra  Year: 1998 

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• McLeod: Little Symphony; facsimile 

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• McLeod: Little Symphony; facsimile 

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• New Zealand Composers  Year: 1995 

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Curnow requested this work from Lilburn in 1952 for a poetry reading at Auckland University College. The event took place on the evening of 9 August that year, and involved a substantial amount of poetry (twenty-two poems in total) read by the poets involved. (Actually the works of eight poets were represented: Baxter read “Canto at Twenty-seven” by Louis Johnson).

Lilburn’s music was premiered by Antonia Braidwood (violin) and Donald Bowick (piano). One movement was supposed to precede each reading, providing the audience with the composer’s musical impressions of the work and personality of each poet. In the event, however, the order was reversed, which led to some confusion for the audience and some displeasure for the composer. Typical of New Zealand composition of the time, there was no fee to be had for the work. Lilburn even had to pay his way to Auckland for the rehearsals. On his return to Wellington, Lilburn shelved and forgot about the work. It was not until a chance meeting at his doctor’s surgery in 1988/89 that he was reminded of its existence by Lady Dorothea Turner, who had reviewed the first performance. At that point Lilburn contacted the violinist Dean Major to ask if he would be interested in performing it. After some negotiation the composer also determined that he would write a narration to go along with the music in lieu of the twenty-two poems, and (most surprisingly) volunteered to read this himself.

Salutes to Seven Poets was recorded by Concert FM on 5 September 1989, by Major (violin), with Rae de Lisle (piano). As if to make up for thirty-eight years of neglect of the work, this recording received a Mobil Award in 1990.

(Note by Nancy November).

• Lilburn: Salutes to Seven Poets; computer-set 

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• Waiteata Collection of New Zealand Music Vol. 9 - Douglas Lilburn: Salutes to Poets  Year: 2006 

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• Douglas Lilburn: Violin and Piano Works  Year: 2011 

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• Carr: Sonata for solo violin; facsimile 

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• Edwin Carr: Sonata; audio 

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• Release: The Mozart Fellowship  Year: 2012 

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