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The structure is modelled on Bartok’s String Quartet No. 6, with 3 quick movements, each proceeded by a slow introduction – the 3 treatments of the introduction become fuller each time. There are also Bartokian rhythmic influence: 5/8, 11/8, 7/4 movements and sections.

I think (?) it had a student performance at Cambridge; I also entered it for the Soviets for the Performance of New Music (SPNM) who accepted it, but by then I was a student with Ben Frankel’s class at the Guildhall in London, and he advised me to withdraw it – on the grounds (as I remember) that I could do better! Perhaps I could, but looking back at it, I feel it has a youthful freshness, so I’ve put it into the SOUNZ library as being available for performance. No takers yet!

I’ve also made arrangements of the Trio section of the 2nd movement as a separate piece, called Musette. The solo guitar version is published in Sue Court’s Guitar Aotearoa, and there is a piano version in a set of 8 pieces called Off-beat (1992 – unpublished), which shows that I still like this bit of the Serenade, at least!

• Farquhar: Serenade; facsimile 

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• Farquhar: Serenade for Wind Quartet; facsimile 

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• Farquhar: Serenade for Wind Quartet; facsimile 

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The cycle was originally composed for baritone and piano. Yet as one hears in the first song, Harry sings to ‘an old guitar’. In the piano version, Lilburn incorporates idiomatic guitar gestures into accompaniment throughout: strumming, broken chords, and fading guitar snaps. These serve not only to evoke the guitar, but also to strengthen one’s sense of the songs as self-reflective, self-accompanied cycle of ‘songs within songs’. Lilburn subsequently arranged the cycle for tenor and guitar (1953, SLD-47), and for tenor and piano(1954, EC-26)

• Douglas Lilburn: Sings Harry - hardcopy score 

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• Sings Harry  Year: 1976 

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

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Harry is a back-country character created by the New Zealand poet Denis Glover in a collection of poems entitled Sings Harry, first published by his Caxton Press in 1951. In 1953 Douglas Lilburn set six of these in what has become one of the most popular and firmly established song cycles in the New Zealand repertoire.

• Douglas Lilburn: Sings Harry - hardcopy score 

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• Sings Harry 

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• New Zealand Sounds - October Sound 

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Sings Harry, a setting of six poems by Denis Glover, tells of an endearingly idiosyncratic New Zealander. It is a prime example of Lilburn’s subtle handling of poetic texts. The self-reflective tone of the protagonist, and the slightly complex narrative mode, are established in the first song: it is Harry’s voice that we hear, Harry singing his home-made song cycle; yet a guiding narrator is ever present to tells us so. One’s awareness of this narrative voice is enhanced throughout the cycle by the recurrent falling-third motif at the phrase ‘sings Harry’, and by the composer’s frequent use of a vocal reciting tone or a pitch to which the voice is drawn. It is nonetheless easy to become absorbed in the various voices of Harry, which range from the crusty critic to the carefree swaggerer. Lilburn captures the fluctuating temporality and unpredictability of his subject with great sensitivity and humour. In the final song, a delightful recollective melange of landscapes and uncles, this is achieved by means of recurrent motifs (the ‘river running by’) and reflective pauses. Sings Harry was released in 1960 on a label called Kiwi New Zealand Composer Edition. It was the third work by Lilburn to be recorded and the sole piece on a 45 rpm disc. Programme note: Nancy November

• Douglas Lilburn: Sings Harry - hardcopy score 

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• Douglas Lilburn: Sings Harry - handwritten hardcopy score 

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• Douglas Lilburn: Sings Harry; video 

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

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The Sonata for Violin and Piano is in one movement of five contrasting sections. It dates from 1950 and was composed for two well-known musicians: the violinist was Ruth Pearl, from England, who had settled here shortly after the Second World War and was for some time the leader of the Lindsay String Orchestra; and pianist was Frederick Page, for many years professor of Music at Victoria University. These artists performed the work throughout New Zealand and took it on tour for the Chamber Music Federation. Even now it remains the one sonata for violin and piano by a New Zealand composer that is heard with any frequency.

• Lilburn: Sonata for violin and piano; computer-set 

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• Douglas Lilburn: Sonata 1950; video 

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• Chamber Works Vol. 2 (NZ Composer Edition) 

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• Lilburn: Two Works 

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• Douglas Lilburn: Violin and Piano Works  Year: 2011 

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• Douglas Lilburn: Master Works for Strings  Year: 2011 

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• Heenan: Three Sea Songs; computer set 

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• Ashley Heenan: Orchestral Music  Year: 1996 

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