sources - Nottingham eTheses - The University of Nottingham

The commotion that follows the slashing (figures 119 to 122b) was not noticeably
shortened in the 1907/8 revisions (it had already been cut in 1903; see above, §3.1).
However, the distinctly episodic feel of this passage in 1904 (a change to 3/4 Allegro
at fig. 120a, and another tempo change to Meno mosso at fig. 122a) was now
effectively removed both by renotating it in 3/2 throughout (with no speed changes)
and by more consistent use of the urgent scalic sextuplet quaver figuration.
A final cut of the five bars of purely orchestral Più mosso at fig. 122b (Ex.
3.33a: a sequence of agitated simultaneous semiquavers and crotchets, and a classic
example of needless musical and dramatic padding if ever there was one) 33 resulted in
a far more effective ascent to the woodwind tremolo underpinning the Foreman’s line
‘Laco, neutikej!’ [Laca, don’t run away!] (Ex. 3.33b).
33 The semiquavers’ motivic derivation from Laca’s earlier ‘od malička lúbil’ makes them no less
superfluous.
121