ABSTRACT
This chapter examines the change from definable constituent elements to complex networks of interrelated motifs. In the last of David Lumsdaine's lengthy piano pieces namely Cambewarra, composed in 1980, the very concept of the repetitiousness of material is interrogated. From the very first notes, the ways in which this occurs treat the idea of linear paths very differently from earlier music such as Hagoromo. Lumsdaine's writing for piano falls into two categories: works for solo piano and works that require more than one performer. In providing a base for the consideration of repetition in Cambewarra, it is helpful to consider the two groups of pieces separately. Both Flights and Kangaroo Hunt make much of the interaction between performers, in part due to their open form. Kelly Ground and Ruhe sanfte are almost entirely stable in the configurations of their gestures. The chapter examines the slower chordal blocks and discusses the final manifestation of the transformation of the A/D/G motif.
