sources - Nottingham eTheses - The University of Nottingham
sources - Nottingham eTheses - The University of Nottingham sources - Nottingham eTheses - The University of Nottingham
obvious opportunity for folk-music treatment, this appearance of duvaj figuration was no doubt prompted by Števa’s reference to ‘the morning after the levy’ (‘po odvodě ráno’, Ex. 3.27a). However, the double-stroke accompaniment then continues in the same vein well beyond this fleeting reminiscence of the events of Act 1, almost to the end of the scene (fig. 51): through the point at which Števa tells the Kostelnička how frightful he finds her (Ex. 3.27b) and even beyond his exit as Jenůfa cries out in her sleep, ‘Mother, a rock is falling on me’ (Ex. 3.27c). Ex. 3.27a (voice and strings only: other instruments omitted) Ex. 3.27b (voice and strings only: other instruments omitted) 115
Ex. 3.27c In his 1907 changes to this extended episode, Janáček removed all the slurs and subdivided the semiquavers in the violins, violas and cellos into demisemiquavers whilst retaining the offbeat duvaj accents (cf Ex. 3.27a): Ex. 3.28 It is possible to view this change (and the others to the folk passages in Acts 1 and 3) as simply a further instance of Janáček’s thoroughgoing textural transformation of the opera. In the specific case of the duvaj examples, the changes may also have been 116
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Ex. 3.27c<br />
In his 1907 changes to this extended episode, Janáček removed all the slurs<br />
and subdivided the semiquavers in the violins, violas and cellos into demisemiquavers<br />
whilst retaining the <strong>of</strong>fbeat duvaj accents (cf Ex. 3.27a):<br />
Ex. 3.28<br />
It is possible to view this change (and the others to the folk passages in Acts 1 and 3)<br />
as simply a further instance <strong>of</strong> Janáček’s thoroughgoing textural transformation <strong>of</strong> the<br />
opera. In the specific case <strong>of</strong> the duvaj examples, the changes may also have been<br />
116
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