sources - Nottingham eTheses - The University of Nottingham

sketch for the oboe melody of the prelude appears only later on in PL, 32 it is clear
from the 1904 accompaniment — with double basses playing a duvaj bass line
reinforced by offbeat quavers in timpani and harp — that this passage does indeed
have folk associations (even if its melody is played by an oboist rather than a fiddler).
By 1907, however, Janáček had made substantial cuts to the prelude (see above,
§3.3.1), and although this particular passage remained, he also removed the ‘literal’
use of duvaj in this and parallel passages in the prelude, replacing it for the most part
with steady pizzicato quavers in the double basses. Only in the offbeat chords in
timpani and harp is there a hint of the music’s folk accompaniment associations:
Ex. 3.26b (oboe melody plus timp/hp/db accompaniment: all other instruments omitted)
The other, more extensive — and in many ways more surprising — example of
duvaj came in the third scene of Act 2 (Kostelnička and Števa). It began at the point
where Števa describes his emotions on seeing Jenůfa (with her cheek cut) the morning
after the army levy: ‘když jsem ji po odvodě ráno uhlídal’ (fig. 44). Although not an
32 PL, 55 (Scene 6); as so often with Janáček’s sketching, he appears simply to have jotted down the
idea when and where it occurred to him, rather than on the relevant page.
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