sources - Nottingham eTheses - The University of Nottingham
sources - Nottingham eTheses - The University of Nottingham sources - Nottingham eTheses - The University of Nottingham
Ex. 3.17 Janáček’s 1907 revision of ‘Už od té chvíle’ removed the ostinato for bars at a time, leaving a fractured transformation of the arching motif as a punctuating figure in the manner of an accompanied recitative (see CHAPTER 2, §2.3): Ex. 3.18 The result is actually much closer to the use of punctuating accompanimental motifs as used in Janáček’s later operas, as the following example — from just a few bars earlier in Věc Makropulos than Ex. 3.17 — clearly demonstrates: 103
Ex. 3.19 Other instances of motivic and textural distillation are plentiful in the 1907/8 revisions. Towards the end of Act 2 Scene 7, after Jenůfa has lamented the death of her baby, the Kostelnička tells her the news about Števa: ‘A s tou rychtářovou už je zaslíben’ [Now he’s engaged to the mayor’s daughter]. In 1904 this is accompanied by a constant triplet quaver ostinato in the strings: Ex. 3.20a 104
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Ex. 3.19<br />
Other instances <strong>of</strong> motivic and textural distillation are plentiful in the 1907/8<br />
revisions. Towards the end <strong>of</strong> Act 2 Scene 7, after Jenůfa has lamented the death <strong>of</strong><br />
her baby, the Kostelnička tells her the news about Števa: ‘A s tou rychtářovou už je<br />
zaslíben’ [Now he’s engaged to the mayor’s daughter]. In 1904 this is accompanied<br />
by a constant triplet quaver ostinato in the strings:<br />
Ex. 3.20a<br />
104
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