Returning to the Return*

By | 1 December 2011

whwhwhwhwhwhwhwhwhwhwhwh whhwhwhwhwhwhwhwhwhwhwhwhshshshshsh

whsh whsh whsh whsh whsh whsh whsh whsh ssssssssssssss
                           gull flung                                            ssssss

                                         a a
swoop on high sea       a
                                         a   a far flung

listening to the cry of the sea
whakarongo ki te tangi a te moana

            aeu u u u u u u u u u u u u u
     aeu u u u u u u u u u u u u u u
 aeu u u u u u u u u u u u u u

tree god splintered on the high sea
Tane Mahuta Ta Tane Taneeee
                                    huutaaaa splintered

kauri kowhai totara rimu rata miro mistletoe splintered   splinter
kauri kowhai totara rimu rata miro mistletoe splintered   splinter

split split split sp sp sp sp sp sp sp sp sp
                                      matau                 tartaire

     sp sp                                    sp sp                               sp sp

sp           sp                         sp            sp                    sp             sp

mist low   sp sp sp sp sp   sand wet    sp sp sp sp    sea high       sp
sp       sp                              sp      sp                          sp      sp     sp

sp                           sp                   sp                 sp                   sp
  shshshshshshhshs  shshshshsh  shshshhshs  shshshshsh  shshshshshshsh
             drowned            drowned                     drowned         drowned

heart splintered                 heart splintered                 on the high sea

                              far flung                            far flung

*New Zealand composer Douglas Lilburn composed his first major electro-acoustic work in 1965, ‘The Return,’ a sound image setting of a poem by Alistair Campbell. Lilburn subsequently went on to create a significant body of electro-acoustic music with predominant New Zealand themes.


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