sources - Nottingham eTheses - The University of Nottingham
sources - Nottingham eTheses - The University of Nottingham sources - Nottingham eTheses - The University of Nottingham
semiquavers of the 1904 version (upper stave) were discarded by 1908, leaving the rhythmically accelerating bass line to stand alone. Ex. 3.22 The first four bars of Jenůfa’s Act 2 lament, ‘Tož umřel’ [He died then], were similarly given greater definition by the suppression of all but the viola line, now played sul ponticello and marked espressivo: Ex. 3.23a Ex. 3.23b 107
Whilst a general trend at this stage was the paring down of orchestral textures, especially where serving as accompaniments, there are also some noteworthy examples of textural enrichment. A good instance of this is the very opening of Act 3, where the relatively drab scoring of 1904 (Ex. 3.24a, cellos in unison with double basses) is greatly enlivened in 1908 simply by having the cellos play in parallel tenths with the basses and added bassoons (Ex. 3.24b): Ex. 3.24a Ex. 3.24b A more complex example of textural transformation comes in the Kostelnička’s confession (Act 3 Scene 10), particularly her vivid relation of the events 108
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semiquavers <strong>of</strong> the 1904 version (upper stave) were discarded by 1908, leaving the<br />
rhythmically accelerating bass line to stand alone.<br />
Ex. 3.22<br />
<strong>The</strong> first four bars <strong>of</strong> Jenůfa’s Act 2 lament, ‘Tož umřel’ [He died then], were<br />
similarly given greater definition by the suppression <strong>of</strong> all but the viola line, now<br />
played sul ponticello and marked espressivo:<br />
Ex. 3.23a<br />
Ex. 3.23b<br />
107
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