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The Janáček biographer Jaroslav Vogel drew attention to this figuration
(although he did not use the term duvaj) in the onstage instrumental accompaniment to
the chorus ‘Všeci sa ženija’ in Act 1 of Jenůfa (fig. 48). 30 In that particular passage its
use is well motivated: it accompanies the male offstage chorus in a folksong
celebrating Števa’s avoidance of conscription. Although the offstage band parts
underwent some changes, the duvaj accompaniment survived Janáček’s revisions
(albeit with modifications) as well as those of Kovařovic. The 1904 version of Jenůfa,
however, had also contained two further examples of this type of figuration. One of
these was in the orchestral introduction to Act 3:
Ex. 3.26a (oboe melody plus timp/hp/db accompaniment: all other instruments omitted)
Janáček, in his working copy of Preissová’s drama (PL), had designated the
opening of Act 3 in a marginal note as ‘Introduction — and fiddlers’ music outside the
house’, in anticipation of the wedding celebrations for Jenůfa and Laca. 31 Although a
30 Vogel 1963, 133; Eng. trans. Vogel 1981, 140.
31 ‘Úvod — | a hudba | hudců před | domem.’, PL, 48, left-hand margin; see Štědroň 1965, 339 and ZGJ, 73.
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