The Lilburn Sonata
T was interesting to hear for the first time, from 4YA a performance by Frederick Page of Douglas Lilburn’s controversial sonata for piano. Musical controversy is particularly barren in New Zealand because it rests upon no background of solid musical criticism. For this latter, musical gossip columns and abusive letters to the Press are not much of. a substitute. However, enough had been said in the North about Lilburn’s Sonata to whet our curiosity. The sonata turned out to be one of considerable scope, recognisably modern in tone, but, to my ears, not excessively harsh. The impression I formed (and an impression is all that a broadcast hearing can give) was of a sensitive, closelytextured work, distinctly individual in style. Certainly it should do much to vindicate Lilburn’s claim to be our leading composer. Frederick Page further braved the pundits by presenting on Tuesday a Stravinsky Serenade. This work, with its restraint and preference for low-toned effects, must have surprised some who still see Stravinsky only as the high priest of the devilish cult of modernism, celebrating musical orgies with the noises of the jungle. The pianist maintained his usual standard of care and competence, effacing himself and letting the music make its own impression.
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https://paperspast.natlib.govt.nz/periodicals/NZLIST19500224.2.19.6
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New Zealand Listener, Volume 22, Issue 557, 24 February 1950, Page 11
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208The Lilburn Sonata New Zealand Listener, Volume 22, Issue 557, 24 February 1950, Page 11
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