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fl. (3-3rd dbl picc.), ob. (3-3rd dbl CA), cl. in A (3-3rd dbl bass cl.), bsn (3-3rd dbl contra.), alto sax.; 4,3 (trumpets in C), 3,1; timp., perc. (5), hp, cel., pno; strings. Percussion includes tri., tambourine, sus. cymbal, clash cymbal, gong, xylophone, glock., bells, woodblk, claves, rattle, whip, side drum, bass drum.

• Lilburn: A Birthday Offering; computer-set  

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• Lilburn: A Birthday Offering; facsimile  Year: 1991 

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• Douglas Lilburn: A Song of Islands  Year: 1987 

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• Lilburn: Prodigal Country  Year: 1987 

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• Lilburn: Prodigal Country  Year: 1987 

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• Douglas Lilburn: Orchestral Music  Year: 1995 

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• Douglas Lilburn: Orchestral Works   Year: 2004 

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2222; 4330; timp; strings

• Lilburn: A Song of Islands; facsimile  Year: 1996 

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• SOUNZfine Volume 2 

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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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• Douglas Lilburn: A Song of Islands  Year: 1987 

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• Douglas Lilburn: Orchestral Music  Year: 1995 

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• Douglas Lilburn: Orchestral Works   Year: 2004 

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• Wild Music   Year: 2004 

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2222; 2230; timp,perc; strs.

2212; 4330; timp, perc. (tri.,glock.,xyl.,cym.,side drum.,b.drum); strings

• Speirs: Divertimento for Orchestra; facsimile 

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2222; 3230; timp, perc; strs.

When I arrived at the Royal College of Music in London, in September 1937, and was accepted as a student by Vaughan Williams, he put me through routine disciplines of writing fugues and part-songs, and then one day said: “Isn’t it time you composed something?”

I accepted the challenge and produced by Drysdale Overture, with its nostalgic memories in a musical language which rather disconcerted him. Still more did it upset Sir George Dyson, who brilliantly realised my rough orchestral score on the piano and then said: “Don’t bring me another manuscript like that.” He did, however, give it a reading rehearsal with the RCM first orchestra, and I took steps to improve my musical handwriting.

In those far-off heady days, Hans Keller’s “functional analysis” had hardly impacted on the RCM – we students ignorantly and derisively called it “sweet FA”. And so I may hardly provide an “analytical synopsis”.

With my meagre knowledge of classical forms, I thought that proper overtures should have a solemn introduction, with motifs recalled later in various structural guises, and that they should have a contrasting “second object” – hence my nostalgic oboe tune, with fitting Scottish inflections. Curiously, what might have been a routine “development” turned into a sunlit rondo, nostalgic of childhood happiness.

I’m left with that lovely Mark Twain image of Jim and Huckleberry drifting on their barge down that great river, looking up at the stars and wondering “whether they was made, or only just happened”.

Douglas Lilburn
14 October 1994

• Lilburn: Drysdale Overture; computer-set 

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• Douglas Lilburn: Drysdale Overture; audio 

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• Alfred Hill and Douglas Lilburn- Wellington Chamber Orchestra Vol. 2 

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• Landscapes: New Zealand Orchestral Music 

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• Douglas Lilburn: A Song of Islands  Year: 1987 

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• Lilburn: Prodigal Country  Year: 1987 

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• Lilburn: Prodigal Country  Year: 1987 

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• Douglas Lilburn: Orchestral Music  Year: 1995 

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• Douglas Lilburn: Orchestral Works   Year: 2004 

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• Island Song  Year: 2010 

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3332(+d-bn); 4331; 4 timps, perc, pf, hp; strs.

• Edwin Carr: Electra; audio 

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3222;4330; timp; perc; strs.

• Lilburn: Festival Overture; computer-set 

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• Festive Overtures 

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• Aotearoa - Orchestral and String Music by Douglas Lilburn 

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• Lilburn: Symphony No. 1 

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• Lilburn: Symphony No. 1 and other works  Year: 1986 

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• Douglas Lilburn: Orchestral Music  Year: 1995 

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• Douglas Lilburn: Orchestral Works   Year: 2004 

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• Celebrate Wellington Concert  Year: 2005 

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• Vector Wellington Orchestra: Celebrate Wellington  Year: 2005 

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(1)22(1)22(1);06(3C,2B-flat)31;4perc;pf;cel;strs

Commissioned for the centenary celebrations of the University of Otago, New Zealand, in 1969, this work is built in five sections arranged as an arch. The first section consists of four ‘fanfares’ – the first fanfare is for six trumpets characterised by crescendo-diminuendo effects and long sustained notes which rise steadily through a series of semitonal steps to a climax; the second fanfare is for woodwind and percussion, the third is an extended version of the first, and the final fanfare modifies the second. This section leads directly into an agile, toccata-like allegro based on material from the trumpet fanfares. The third, central section is a long lento based on material from the woodwind fanfares. Here, biting dissonance and angular melody is replaced by gentle melodic lines and an ever-present backdrop of soft string chords. The fourth section returns to the character and ideas of the second leading to the work’s major climax which subsides into the original fanfares with which the work opened. Now, however, the music is turned back to front so that the gradual intensification of the opening becomes a process of gradual relaxation.

• Speirs: Fioriture for Orchestra; facsimile 

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• Speirs: Fioriture for Orchestra; facsimile 

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• Jack Speirs: Fioriture; audio 

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(1)222(1)2; 4331; timp,perc,pf,hp; strs.

This work is an orchestral transcription of Five Pieces for piano.

• Douglas Lilburn: Orchestral Works   Year: 2004 

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