sources - Nottingham eTheses - The University of Nottingham

In 1908, the accompaniment evaporates for one or two bars at a time, a revision
coupled to a more idiomatic, less slavishly thematic rhythm in the vocal line:
Ex. 3.20b
An altogether more extreme example of this tendency towards textural
distillation is found in Act 3 at the moment of the Kostelnička’s initial revelation of
the truth about the baby’s murder, ‘To můj skutek, můj trest boží’ [Mine the deed,
mine the punishment]. In 1904 both this line of text and the initial stunned reaction of
the men in the crowd were made against an expansive, lyrical orchestral
accompaniment, the Kostelnička’s vocal line closely entwined with the instrumental
motifs (cf. CHAPTER 2, Fig. 2.5):
Ex. 3.21a
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