3 Symphonies
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Music CD Cover
Edition: Music CDCD Release Date: 2002-07-16
Music Label: Naxos
Soundtracks:
- Allegro Non Troppo
- Andante Con Moto
- Allegro
- Prelude: Moderato
- Scherzo: Allegro Vivace
- Introduction: Poco Lento
- Finale: Allegro
- Moderato - Vivace - Allegro - Andante - Allegro
Free Music Notes for 3 Symphonies
Free Music Review: Only part of the story
Hit: 4 Stars
At first, Lilburn was mostly known outside New Zealand, on l.p.s, as the composer of a symphony #2 and an overture: Aotearoa. Gradually a couple of other slight pieces joined their ranks. On cds, Lilburn's other works have become available, including a first and a third symphony, and his music is frequently reviewed in BBC Music Magazine as well as on Amazon. As customer reviewers have pointed out, Lilburn will often remind you of Sibelius, though I'd emphasize that his own distinctive voice is plain in all three of these symphonies--no more so than in the third, which could almost be taken as a mature, confident rethinking of ideas already broached in the second symphony. (Far from being "stern," the third is often the most light-hearted of the three, the light-heartedness of confidence--sprezzatura.)
But the third is from 1961, and Lilburn lived until 2001. His original work lasted until at least 1979. With one (slighting) exception, neither Amazon nor BBC reviewers seem to know that Lilburn began writing electroacoustic music in the early sixties. Robert Hoskins, who wrote the notes for this cd of the symphonies says that they "represent the heart of [Lilburn's] creativity." Lilburn would not have agreed. He saw electronics as the best way to express what he thought needed expressing and composed little else after the third symphony. It's not listed on Amazon, but the three cd/one dvd collection on Atoll of Lilburn's truly mature (and truly distinctive) music is not difficult to find, and is well worth any effort it takes to find it. Lilburn set up the electronic music studios at the Victoria University of Wellington and already three generations of composers have worked there.
To truly know Lilburn in all his glory, you really have to have the Atoll set. The move from instrumental to electroacoustic was an aesthetically well-considered one. Here's what he said about it in 1975 in a note for a Kiwi Pacific Records album (and reprinted in the Atoll booklet), "What is it that attracts composers and students and listeners to this new medium? - perhaps a working context that allows imagination to make use of all the sounds that are part of our human listening experience. The working disciplines are quite as stringent as those required by older music, and the product can be used for wide range of human occasions. And surely, by utilising all sounds that make our audial experience, the medium is most valid for exploring our creative imaginative potential, here and now."
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