File under: Electroacoustic
Douglas Lilburn
The Landscape of a New Zealand Composer (10CD Box)
LabelSOUNZGenreElectronic
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A limited edition 10 CD boxed set of the remarkable radio documentary tracing the life and music of Douglas Lilburn. The set is made available through SOUNZ in collaboration with Radio NZ Concert and the producers Roger Smith and Gareth Watkins. Interviews with the composer, his family, friends, and colleagues both composers and performers make this a comprehensive and remarkable documentation of New Zealand’s most influential composer. The CDs are accompanied by a comprehensive booklet, which includes details of every source utilised, making it ideal as a resource for in-depth as well as ’interest’s sake’ study.
Details
File under: Electroacoustic
Cat. number: NZ100-8
Year: 2011
Release notes
All music composed by Douglas Lilburn. A limited edition 10 CD boxed set of the remarkable radio documentary tracing the life and music of Douglas Lilburn. Interviews with the composer, his family, friends, and colleagues both composers and performers. The CDs are accompanied by a comprehensive booklet.
Tracklist
| CD 1 - Episode 1: In Search Of A Tradition | |||
| 1-1 | Occasional Pieces For Piano (1942-73) | ||
| 1-2 | "Light, Warm Sunlight …" - Reading From Douglas’s Unpublished Notes For Memories Of Early Years - A Selection Of Autobiographical Sketches | ||
| 1-3 | “Douglas Was Uncle Gordon To Us …” | ||
| 1-4 | "My Father, Robert Lilburn …" - Reading From Douglas’s Unpublished Notes For Memories Of Early Years - A Selection Of Autobiographical Sketches | ||
| 1-5 | Lilburn Family Values | ||
| 1-6 | Musical Revelations At Waitaki Boys' High School; “... I Was Going To Be A Musician …” - Archival Interview Recorded In 1975 | ||
| 1-7 | "If It Had To Be Music, Couldn’t It Have Been The Bagpipes?" - Archival Interview Recorded In 1985 For The Listener | ||
| 1-8 | Christchurch Scene Setter. Archival Talk Recorded In 1985 | ||
| 1-9 | Offering A Prize For A Typically New Zealand Composition. Archival Talk Recorded In November 1935 | ||
| 1-10 | Family History, First Meeting With Douglas | ||
| 1-11 | Reading A Letter By Douglas From 1937 Thanking Percy Grainger | ||
| 1-12 | “New Zealand Was Pretty Much Of A Backwoods In Those Days …” - Archival Interview Recorded In 1987 | ||
| 1-13 | On Composers Realizing Their Best Works. Archival Talk Extracted From Tribute To Ralph Vaughan Williams Recorded On His Death In 1958 | ||
| 1-14 | Studying With Vaughan Williams; Composing Drysdale Overture. Archival Interview Recorded In 1987 | ||
| 1-15 | “We Felt Him To Be The Odd-one-out …” Underscored By Skiing On Mount Cook From The National Film Unit Production Of Journey For Three (1948), Recorded In 1948 | ||
| 1-16 | Sonata For Violin And Piano (1950) | ||
| 1-17 | Douglas Working Back On The Farm After Returning From England | ||
| 1-18 | Drysdale Overture (1937) | ||
| 1-19 | Douglas's Brother Euan | ||
| 1-20 | State Of Orchestral Playing In The 30s And 40s In New Zealand. Archival Talk Extracted From A Sympathy With Sound, Marking The 21st Year Of The New Zealand Symphony Orchestra, Recorded In 1967 | ||
| 1-21 | Composing Was A Strange Occupation In The 40s. Archival Interview Recorded In 1975 | ||
| 1-22 | Composer Contradictions, Personal History | ||
| 1-23 | “You Can Divide Douglas's Music Into Three Periods …” | ||
| 1-24 | “He Was Not Good With Audiences, Electronic Music Distanced Him …” | ||
| 1-25 | Poem In Time Of War (Electronic With Voice Of Vietnamese Student, 1967) | ||
| 1-26 | “His Spirituality Wasn't Tied In With Any One Tradition …” | ||
| 1-27 | “He Felt Like He Wasn't Needed - People Make Their Own Music …” | ||
| 1-28 | “New Zealand Wasn't Ready For A National Composer …” | ||
| 1-29 | “He Was The Ugly Duckling …” | ||
| 1-30 | Sings Harry (1953) | ||
| 1-31 | Production Credits | ||
| CD 2 - Episode 2: Practicalities | |||
| 2-1 | Introduction And Opening Music From This Is New Zealand (1949), A New Zealand Broadcasting Service Radio Documentary | ||
| 2-2 | Scene Setter - Post World War II In Christchurch | ||
| 2-3 | Ngaio Marsh Theatre Rehearsals | ||
| 2-4 | Writing Music For The Theatre. Archival Talk Extracted From Music Ho, Douglas Lilburn 50th Birthday Tribute, Recorded In 1965 | ||
| 2-5 | Ngaio Marsh Productions, New Zealand Poetry. Archival Interview Recorded In 1989 | ||
| 2-6 | The Wellington Group. “Composers Had A Hard Time In The 40s And 50s …” | ||
| 2-7 | “Composing Conditions Were Poor In The 40s …” - Archival Talk Recorded In 1973 | ||
| 2-8 | “Douglas Had High Performance Standards That Sometimes Weren't Met In The 40s …” | ||
| 2-9 | “Douglas Enjoyed First Performance Support – But ...” | ||
| 2-10 | Introduction To The Schola Musica And Ashley Heenan | ||
| 2-11 | Unearthing Works For The Schola Musica To Play | ||
| 2-12 | Title Music From The National Film Unit Production Of Journey For Three (1948), Recorded In 1948 | ||
| 2-13 | Writing For Film / Race Meeting From The National Film Unit Production Of Journey For Three (1948), Recorded In 1948 | ||
| 2-14 | “Have You Considered Writing An Opera?” - Archival Interview Recorded In 1989 | ||
| 2-15 | Willow Song (1944) | ||
| 2-16 | Writing For Theatre - Richard And Edith Campion | ||
| 2-17 | Recording The Music For St Joan. Archival Interview Recorded In 1989 | ||
| 2-18 | Introduction And Opening Music From The Radio Drama The Pitcher And The Well (1964) | ||
| 2-19 | Early Electronic Works For The NZBC | ||
| 2-20 | A Brief Extract From The Pitcher And The Well (1964) | ||
| 2-21 | Using Electronic Music In Theatre And Drama. Archival Interview Recorded In 1971 | ||
| 2-22 | Douglas Returns From Overseas To Set Up The Electronic Music Studio. Archival Talk Recorded In 1985 | ||
| 2-23 | Using University Breaks To Compose | ||
| 2-24 | Academic And Artist, Douglas Was A Creator Not An Analyst | ||
| 2-25 | University Life. Archival Interview Recorded In 1989 | ||
| 2-26 | Symphony No. 3 (1961) | ||
| 2-27 | “The Lilburn Revival Began In The Mid 70s …” | ||
| 2-28 | “Lack Of Recordings Meant It Was Very Hard To Access His Music …” | ||
| 2-29 | “I First Encountered His Music, Copying Manuscripts…” | ||
| 2-30 | The Start Of Waiteata Press. Archival Interview Recorded In 1983 | ||
| 2-31 | "Sleep On..." From Elegy (1951) | ||
| 2-32 | His Position On The Concert Programme Audition Panel | ||
| 2-33 | Detached Support For Other Composers | ||
| 2-34 | Quartet For Brass Instruments (1957) | ||
| 2-35 | Production Credits | ||
| CD 3 - Episode 3: Nature | |||
| 3-1 | No. 11 From Seventeen Pieces For Guitar (1969-70) | ||
| 3-2 | "I Have Trailed After My Brother Euan …" - Reading From Douglas’s Unpublished Notes For Memories Of Early Years - A Selection Of Autobiographical Sketches | ||
| 3-3 | “Entering Into Ascot Terrace …” | ||
| 3-4 | "The River …" - Reading From Douglas’s Unpublished Notes For Memories Of Early Years - A Selection Of Autobiographical Sketches | ||
| 3-5 | “He Never Revealed His Whole Self …” | ||
| 3-6 | “He Was Affected By What Others Said About Him …” | ||
| 3-7 | Waitaki Boys' High School; Submitting A Sonata Instead Of An Essay. | ||
| 3-8 | Communicating Through Music Rather Than Speech. Archival Interview Recorded In 1975 | ||
| 3-9 | Summer Afternoon (1947) | ||
| 3-10 | “He Chose To Live Alone, Enjoyed Solitary Walks …” / Chaconne (1946) | ||
| 3-11 | "The Water Hole …" - Reading From Douglas’s Unpublished Notes For Memories Of Early Years - A Selection Of Autobiographical Sketches | ||
| 3-12 | Integrating The Natural World Into His Creative Work. | ||
| 3-13 | String Trio (1945) | ||
| 3-14 | “I First Met Douglas At The Victoria University College Literary Society …” | ||
| 3-15 | “Using The Natural Sounds Around You …” - Archival Interview Extracted From Programme Five Of The Lilburn Connection Recorded In 1980 | ||
| 3-16 | Growing Up By Myself; Music At Home. Archival Interview Recorded In 1985 For The Listener | ||
| 3-17 | "Musical Awareness …" - Reading From Douglas’s Unpublished Notes For Memories Of Early Years - A Selection Of Autobiographical Sketches | ||
| 3-18 | Sonata (1949) | ||
| 3-19 | “He Had An Hypnotic Personality …” | ||
| 3-20 | Describing The Rooming House On The Terrace ... “he Was Like A Caged Lion …” | ||
| 3-21 | String Trio (1945) | ||
| 3-22 | Moving To Wellington | ||
| 3-23 | Sending Personal Notes On The Backs Of Photographs | ||
| 3-24 | The Vegetable Garden, Synod/drinking Story | ||
| 3-25 | Duo For Violin And Viola (1942) | ||
| 3-26 | “Style Comes From Your Life Experiences ...” - Archival Interview Extracted From Programme Three Of The Lilburn Connection Recorded In 1980 | ||
| 3-27 | “Is The Piece Of Music A Part Of You?” - Archival Interview Recorded In 1975 | ||
| 3-28 | Symphony No. 3 As A Self Portrait | ||
| 3-29 | “He Was An Extraordinary Person In An Ordinary, Decent Family …” | ||
| 3-30 | “He Was Not A Public Composer …” - Archival Talk Recorded In 1965 | ||
| 3-31 | “To Fully Understand Douglas And His Music We Need To Acknowledge His Homosexuality …” | ||
| 3-32 | The Independent Obituary | ||
| 3-33 | Gaining Family Acceptance | ||
| 3-34 | “Well I Never ...” | ||
| 3-35 | St Joan (1955) | ||
| 3-36 | Production Credits | ||
| CD 4 - Episode 4: Methods | |||
| 4-1 | Soundscape With Lake And River (Electronic, 1979) | ||
| 4-2 | "Learning The Piano …" - Reading From Douglas’s Unpublished Notes For Memories Of Early Years - A Selection Of Autobiographical Sketches | ||
| 4-3 | Brief History Of The Electronic Music Studio At Victoria University. Archival Interview Recorded In 1971 | ||
| 4-4 | “Electronic Music Is Like Painting …” (Quoting Douglas) - Archival Talk Recorded In 1985 | ||
| 4-5 | “He Was An Intuitive Composer Rather Than A Grand Planner…” | ||
| 4-6 | “Can't Anyone Just Make These Machines Chatter?” - Archival Interview Recorded In 1971 | ||
| 4-7 | Playing Electronic Works On The Radio, Public Reaction | ||
| 4-8 | Brief History Of Electronic Music. Archival Talk Extracted From Programme Nine Of Composers In Canz, Recorded In 1975 | ||
| 4-9 | Describing The Electronic Music Studio At Victory University | ||
| 4-10 | The Fourth Of Four Preludes (1948-60) | ||
| 4-11 | Describing Douglas's Process For Composing Electronic Music | ||
| 4-12 | Experimenting With Early Electronic Instruments. Archival Interview Recorded In 1971 | ||
| 4-13 | Introduction To And Description Of The Return (1965) | ||
| 4-14 | Realizing Electronic Sounds. Archival Interview Recorded In 1971 | ||
| 4-15 | Douglas's Electronic Techniques | ||
| 4-16 | The Second Of Nine Short Pieces (1966) | ||
| 4-17 | "Glasses …" - Reading From Douglas’s Unpublished Notes For Memories Of Early Years - A Selection Of Autobiographical Sketches | ||
| 4-18 | “Music Just Doesn't Appear ... He Was A Craftsman …” | ||
| 4-19 | St Joan (1955) | ||
| 4-20 | St Joan Manuscript. Archival Interview Recorded In 1989 | ||
| 4-21 | “Beautiful Manuscripts …” | ||
| 4-22 | Moving To More Abstract Depictions In His Music | ||
| 4-23 | Receiving A Brown Paper Parcel Containing The Symphony No. 3 | ||
| 4-24 | Writing An Analysis Of Symphony No. 3 | ||
| 4-25 | Ross Harris's Analysis | ||
| 4-26 | Song Of The Antipodes (1946), Later Renamed A Song Of Islands | ||
| 4-27 | “Lessons I've Learnt From Douglas …” - Archival Talk Extracted From Programme Two Of The Lilburn Connection Recorded In 1980 | ||
| 4-28 | Forming The Lilburn Trust | ||
| 4-29 | “He Channeled His Creative Energy Into The Lilburn Trust …” | ||
| 4-30 | Prodigal Country (1939) | ||
| 4-31 | Production Credits | ||
| CD 5 - Episode 5: Hands | |||
| 5-1 | Occasional Pieces For Piano (1942-73) | ||
| 5-2 | "A Recital Of Music By Douglas Lilburn..." - Reading From A Review In The New Zealand Listener, 15 October 1943 | ||
| 5-3 | Physical Description Of Douglas | ||
| 5-4 | “My First Contact With Douglas Was Through Gordon Macbeth …”; Gordon Macbeth Letter | ||
| 5-5 | Not Getting Assistance With Physical Ailments | ||
| 5-6 | Arthritic Hands, He Used To Play The Piano | ||
| 5-7 | Bagatelle No. 4 (from Five Bagatelles), Later Renamed From The Port Hills (1942) | ||
| 5-8 | Discovering Douglas's Music Through The World Record Club | ||
| 5-9 | Reading A Letter From Owen Jensen Inviting Douglas To Attend The Cambridge Summer School As Composer In Residence, 2 October 1945 | ||
| 5-10 | Getting Douglas To The First Cambridge Summer School. Archival Talk Extracted From Music Ho, Douglas Lilburn 50th Birthday Tribute, Recorded In 1965 | ||
| 5-11 | First Experience Of The Compositional Class At The Cambridge Summer School. Archival Talk Extracted From Programme Three Of The Lilburn Connection Recorded In 1980 | ||
| 5-12 | “I Set Him Up One Time, As A Student …”; Douglas And Palestrina Counterpoint | ||
| 5-13 | There Are No "Little Lilburns" In This Cambridge Composers Photograph. Archival Talk Extracted From Programme One Of The Lilburn Connection Recorded In 1980 | ||
| 5-14 | Wind Quintet (1957) | ||
| 5-15 | Teaching Style, Broad Musical Knowledge | ||
| 5-16 | “He Was A Closet Rock Composer ...” | ||
| 5-17 | Sonata (1950) | ||
| 5-18 | Silences At The Cambridge Summer School. Archival Talk Extracted From Music Ho, Douglas Lilburn 50th Birthday Tribute, Recorded In 1965 | ||
| 5-19 | Copying Larry's Parts At The Last Minute. Archival Interview Recorded In 1983 | ||
| 5-20 | “Douglas Made Us Aware Of Standards ...” - Archival Talk Extracted From Programme One Of The Lilburn Connection Recorded In 1980 | ||
| 5-21 | Larry Really Went On His Own Way. Archival Interview Recorded In 1983 | ||
| 5-22 | Sings Harry (1953) | ||
| 5-23 | Performer / Composer Relationship | ||
| 5-24 | “How Do You Decide What’s Coming Next?” | ||
| 5-25 | Giving Back To The Medium, Teaching. Archival Interview Recorded In 1975 | ||
| 5-26 | Remembering Being A Student When Douglas Visited Otago University | ||
| 5-27 | “By Setting Up The Electronic Music Studio ...” | ||
| 5-28 | Taking A First Aid Course Together | ||
| 5-29 | Douglas's Broad-mindedness | ||
| 5-30 | Silence | ||
| 5-31 | Reading Psalm 90 | ||
| 5-32 | Elegy (in Memoriam Noel Newson) (1945) | ||
| 5-33 | Production Credits | ||
| CD 6 - Episode 6: Canvases | |||
| 6-1 | Growing Up At Drysdale | ||
| 6-2 | "Sunlight, And Happiness Again …" - Reading From Douglas’s Unpublished Notes For Memories Of Early Years - A Selection Of Autobiographical Sketches | ||
| 6-3 | Leaving The Hermitage From The National Film Unit Production Of Journey For Three (1948), Recorded In 1948 | ||
| 6-4 | First Musical Period | ||
| 6-5 | Landscapes In Douglas's Music, The Clear Light | ||
| 6-6 | Spaciousness In Douglas’s Music, The Sea | ||
| 6-7 | Using Imagery To Convey Meaning To The Performer | ||
| 6-8 | The Combination Of Poet And Composer Combining To Form New Zealand Identity. Archival Talk Extracted From Music Ho, Douglas Lilburn 50th Birthday Tribute, Recorded In 1965 | ||
| 6-9 | Using External Influences To Construct A National Identity. Archival Interview Recorded In 1975 | ||
| 6-10 | Introduction From This Is New Zealand (1949), A New Zealand Broadcasting Service Radio Documentary | ||
| 6-11 | Writing Incidental Music For This Is New Zealand | ||
| 6-12 | Brief Musical Extract From This Is New Zealand (1949), A New Zealand Broadcasting Service Radio Documentary | ||
| 6-13 | Sounds And Distances (electronic, 1975) | ||
| 6-14 | "Pukeroa School …" - Reading From Douglas’s Unpublished Notes For Memories Of Early Years - A Selection Of Autobiographical Sketches | ||
| 6-15 | “A Paradise To Roam In … Living In His Own Home Bush ...” | ||
| 6-16 | Douglas's Flat On The Avon River, Christchurch | ||
| 6-17 | Describing Douglas's Christchurch Bedsit | ||
| 6-18 | First Meeting Douglas, Walking Along The Paekakariki Beach | ||
| 6-19 | A Recording Of Douglas's Alarm System At Ascot Terrace. Archival Sound Extracted From An Interview Recorded By Chris Bourke In 1985 For The Listener | ||
| 6-20 | Describing Ascot Terrace | ||
| 6-21 | Describing The Interior Of Ascot Terrace | ||
| 6-22 | Meeting Douglas For The Listener Interview In 1985 | ||
| 6-23 | Reasons For Moving Into Electronic Music. Archival Interview Recorded In 1985 For The Listener | ||
| 6-24 | Painting With Electronic Sound. Archival Interview Recorded In 1975 | ||
| 6-25 | Third Musical Period | ||
| 6-26 | The Return (1965) | ||
| 6-27 | “Setting Up An Electronic Music Cave ...” - Archival Interview Recorded In 1989 | ||
| 6-28 | Reading From Douglas's Published Note On The Electronic Composition Summer Voices | ||
| 6-29 | Demonstration Of The Synthi Aks Ca. 1969 | ||
| 6-30 | Giving Advice On One Of Douglas's Early Electronic Compositions | ||
| 6-31 | Sonata (1950) | ||
| 6-32 | Production Credits | ||
| CD 7 - Episode 7: Relationships | |||
| 7-1 | Quartet For Brass Instruments (1957) | ||
| 7-2 | "My Mother Had Little Education …" - Reading From Douglas’s Unpublished Notes For Memories Of Early Years - A Selection Of Autobiographical Sketches | ||
| 7-3 | Sitting In The Sun Reading Poetry, Wild Honey | ||
| 7-4 | The Strength Of The Man Alone | ||
| 7-5 | “He Found It Difficult To Forgive People …” | ||
| 7-6 | Sonata (1951-52, Revised In 1956) | ||
| 7-7 | Getting Verbally Attacked Over An Electronic Composition | ||
| 7-8 | “He Was Strong Enough In Character … But Didn't Like Criticism ...” | ||
| 7-9 | “When My Husband Died ...” | ||
| 7-10 | Elegy (in Memoriam Noel Newson) (1945) | ||
| 7-11 | Douglas Didn't Like The Limelight | ||
| 7-12 | Inviting Students For Dinner - Composing Food | ||
| 7-13 | “He Knew What He Liked To Eat …”; Shopping For Douglas | ||
| 7-14 | Music As Payment | ||
| 7-15 | Three Bars For The Blood And Bone (1968) | ||
| 7-16 | Doing A Phd On Douglas | ||
| 7-17 | “I First Met Douglas’s Music Under My Own Fingers …”; Hand Copying From His Manuscript. Archival Interview Recorded In 1980 | ||
| 7-18 | "My Paradisal Security Collapsed Suddenly …" - Reading From Douglas’s Unpublished Notes For Memories Of Early Years - A Selection Of Autobiographical Sketches | ||
| 7-19 | Conductor/performer/composer Relationships | ||
| 7-20 | "They Came Off Their Boat Into A Drear Old Customs Shed …" - Reading From Douglas’s Unpublished Notes For Memories Of Early Years - A Selection Of Autobiographical Sketches | ||
| 7-21 | Description Of The Christchurch Artistic Scene In The 30s And 40s | ||
| 7-22 | Christchurch In The 40s; Performing Douglas's Music. Archival Talk Recorded In 1981 | ||
| 7-23 | The Second Of Four Preludes (1948-60) | ||
| 7-24 | “He Introduced Me To His Friends … And Eastern Religions...” | ||
| 7-25 | Change In Musical Language From Nationalism To Cosmopolitanism - Quoting Douglas | ||
| 7-26 | "The Circus" | ||
| 7-27 | Sings Harry (1953) | ||
| 7-28 | Artists Pulled Together In The 40s. Archival Interview Recorded In 1985 For The Listener | ||
| 7-29 | Douglas's Response To The 1985 Interview | ||
| 7-30 | The Final Letter | ||
| 7-31 | “Douglas's Reclusiveness Was Respected By Those Who Knew Him …” | ||
| 7-32 | Letter Scene From Cornet Rilke (1950) | ||
| 7-33 | Production Credits | ||
| CD 8 - Episode 8: Fashions | |||
| 8-1 | Letter Scene From Cornet Rilke (1950) | ||
| 8-2 | Reading "Musical Opinion, London" Letter To The New Zealand Listener, 1 February 1957 | ||
| 8-3 | Sensitivity To Criticism | ||
| 8-4 | Shifting Into The Electronic Music Medium | ||
| 8-5 | Some People Said "What A Pity" | ||
| 8-6 | Poem In Time Of War | ||
| 8-7 | Climbing The Glacier | ||
| 8-8 | Distinctive Patterns In Douglas's Music / Race Meeting From The National Film Unit Production Of Journey For Three (1948) | ||
| 8-9 | Lack Of Support From Management At The National Film Unit In The 40s. Archival Talk Recorded In 1980 | ||
| 8-10 | Promotional Disc For Journey For Three (1948) | ||
| 8-11 | Reading "A Birthday Offering" Letter To The New Zealand Listener, 7 December 1956 | ||
| 8-12 | Second Musical Period | ||
| 8-13 | Audience Reaction To Symphony No. 3 | ||
| 8-14 | Douglas Was Ignored In The 60s | ||
| 8-15 | Listening A The Back Of The Hall | ||
| 8-16 | Writing An Essay On Diversions For String Orchestra. Archival Interview Extracted From Programme Six Of The Lilburn Connection Recorded In 1980 | ||
| 8-17 | Reflecting On Recording Sessions That Douglas Attended | ||
| 8-18 | "What Was The Attitude Towards New Zealand Composers?" - Archival Interview Recorded In 1985 For The Listener | ||
| 8-19 | Douglas's Career As A Composer Has Run Parallel With That Of The New Zealand Symphony Orchestra. Archival Talk Recorded In 1965 | ||
| 8-20 | Recording The Schola Musica; Talking About Each Other's Gardens | ||
| 8-21 | Occasional Pieces For Piano (1942-73) | ||
| 8-22 | "Broadcasting" Supported And Exported Douglas's Music Overseas | ||
| 8-23 | Changing The Name Of Song Of The Antipodes, (1946). Archival Talk Extracted From Sounds From The South Recorded In 1980 | ||
| 8-24 | Relationship With The Orchestra. Archival Interview Recorded In 1989 | ||
| 8-25 | “Composing Has Become More Difficult For Me ...” - Archival Interview Recorded In 1975 | ||
| 8-26 | Reading "Kitten On The Keys" Letter To The New Zealand Listener, 1949 | ||
| 8-27 | Very Sensitive About His Personal Life Being Made Public | ||
| 8-28 | “Douglas's Music Was Reserved, Reticent ...” | ||
| 8-29 | “Douglas Worked Incredibly Hard To Create His Own Voice ...” | ||
| 8-30 | From The Port Hills | ||
| 8-31 | Production Credits | ||
| CD 9 - Episode 9: Withdrawing | |||
| 9-1 | Occasional Pieces For Piano (1942-73) | ||
| 9-2 | “Douglas’s Funeral Service Was A Very Private Affair …” | ||
| 9-3 | A Letter From Douglas In 1988 About Not Travelling, Withdrawing | ||
| 9-4 | Increased Paranoia Due To Drinking And No Daily Structure | ||
| 9-5 | Drinking Changed Him | ||
| 9-6 | Occasional Pieces For Piano (1942-73) | ||
| 9-7 | Describing Douglas's Face | ||
| 9-8 | “In His Late Years He Was Shy Of The Media … Self Conscious About Being Known …” | ||
| 9-9 | Withdrawing From The Public | ||
| 9-10 | He Was Aware Of His Status; Describing Douglas's Mother | ||
| 9-11 | “He Had A Memory Like An Elephant …” | ||
| 9-12 | Reflecting On Relationships | ||
| 9-13 | Occasional Pieces For Piano (1942-73) | ||
| 9-14 | Coming Back To New Zealand And Seeing Douglas Slip Into Old Age | ||
| 9-15 | After He Retired He Had A Chance To Compose Full Time - But He Didn't | ||
| 9-16 | Going Deaf | ||
| 9-17 | He Still Listened To What Other Composers Were Doing | ||
| 9-18 | “I Once Asked Douglas Why He Gave Up Composing …” | ||
| 9-19 | Reading The Final Letter | ||
| 9-20 | Brown Paper Bag Letters | ||
| 9-21 | No. 7 From Nine Short Piano Pieces (1966) | ||
| 9-22 | Falling Into Old Age; Defining Moments | ||
| 9-23 | He Didn't Leave His House In Later Years | ||
| 9-24 | His Refusal At The Possibility Of Living In A Rest Home | ||
| 9-25 | The Shepherd's Arms Group | ||
| 9-26 | I Wrote Him A Letter Before He Died | ||
| 9-27 | Four Preludes (1948-60) | ||
| 9-28 | “I Regret That We Didn't Do More …” | ||
| 9-29 | Douglas Never Talked About Death, More About Life And Creation | ||
| 9-30 | Letting Go Of Family | ||
| 9-31 | The Return (1965) | ||
| 9-32 | Elegy (1951) | ||
| 9-33 | Production Credits | ||
| CD 10 - Episode 10: Legacies | |||
| 10-1 | Douglas Would Have Hated This Series | ||
| 10-2 | "Gordon" - Reading From Douglas’s Unpublished Notes For Memories Of Early Years - A Selection Of Autobiographical Sketches | ||
| 10-3 | Description Of Douglas - Generous But Frightening...a Fighter | ||
| 10-4 | Petitioning For The Release Of Jailed Composers. Archival Interview Recorded In 1975 | ||
| 10-5 | Jill Palmer Displays Douglas's Typewriter Held At The Alexander Turnbull Library | ||
| 10-6 | Reads A Letter From Douglas To President Park Chung-hee Of The Republic Of Korea, 21 May 1976 | ||
| 10-7 | “Freedom Seems To Function On Many Levels …” - Archival Interview Recorded In 1975 | ||
| 10-8 | Poem In Time Of War (Electronic With Voice Of Vietnamese Student, 1967) | ||
| 10-9 | Forming The New Zealand Music Archive At The Alexander Turnbull Library | ||
| 10-10 | Chaconne (1946) | ||
| 10-11 | Describing What's In The Lilburn Collection At The Alexander Turnbull Library | ||
| 10-12 | "My Strong Willed Mother …" - Reading From Douglas’s Unpublished Notes For Memories Of Early Years - A Selection Of Autobiographical Sketches | ||
| 10-13 | Incidental Music From This Is New Zealand (1949), A New Zealand Broadcasting Service Radio Documentary | ||
| 10-14 | “You're Composing To Say Something Rather Than To Stretch Yourself?” - Archival Interview Recorded In 1985 For The Listener | ||
| 10-15 | Supporting Other Composers In The Background | ||
| 10-16 | “I Think Douglas Was Always Hesitant To Promote Himself, But Now …” | ||
| 10-17 | Quartet For Brass Instruments (1957) | ||
| 10-18 | The Queen's Visit; Receiving The Order Of New Zealand | ||
| 1019 | "I Quickly Made Friends With The Children In The Street…" - Reading From Douglas’s Unpublished Notes For Memories Of Early Years - A Selection Of Autobiographical Sketches | ||
| 10-20 | Order Of New Zealand Medal Story | ||
| 10-21 | The Return (1965) | ||
| 10-22 | Douglas's Friendship With Ralph Vaughan Williams. Archival Interview Recorded In 1995 | ||
| 10-23 | Tribute To Ralph Vaughan Williams. Archival Talk Extracted From Tribute To Ralph Vaughan Williams Recorded On His Death In 1958 | ||
| 10-24 | St Joan (1955) | ||
| 10-25 | Douglas Taught Me How To Listen | ||
| 10-26 | New Zealandness In His Music | ||
| 10-27 | "There Was A Final Family Summer …" - Reading From Douglas’s Unpublished Notes For Memories Of Early Years - A Selection Of Autobiographical Sketches | ||
| 10-28 | “Douglas Was Extremely Loyal To His Friends …”; Rita Angus | ||
| 10-29 | “I Remember When Rita Died ...” | ||
| 10-30 | “With Douglas It Was A Matter Of Trust …” | ||
| 10-31 | “His Music Didn't Influence Me - But His Personality Did …” | ||
| 10-32 | Douglas Affected My Decisions | ||
| 10-33 | “I Never Thought In Terms Of Making Money…” | ||
| 10-34 | "On The Last Day Of The Holiday …" - Reading From Douglas’s Unpublished Notes For Memories Of Early Years - A Selection Of Autobiographical Sketches | ||
| 10-35 | The Return (1965) / A Song Of Islands (originally Titled Song Of The Antipodes, 1946) | ||
| 10-36 | Production Credits | ||
