Page 44 - Weiss, Jernej, ur. 2018. Nova glasba v “novi” Evropi med obema svetovnima vojnama ?? New Music in the “New” Europe Between the Two World Wars. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 2
P. 44
nova glasba v »novi« evropi med obema svetovnima vojnama
3 structural (ends of Act 1, Act 2 and Act 3);
2 key words, all Act 3: Dikoj declares that storms are a punishment
from God to show his might; Káťa calls out to Boris before their fi-
nal meeting.
The Cunning Little Vixen comment. (1924): 1 occurrence:
1 structural (end of Act 3).
The Makropulos Affair (1926) 4 occurrences:
2 structural (end of Act 2, end of Act 3);
1 suggesting a transcendental change of state for Emilia to emerge
“like a shadow”, Act 3;
1 for important words, Act 3: Marty describes how they tried out
the formula years on her and thus gave her a three-hundred-year
life span.
In From the House of the Dead Janáček used maestoso in the follow-
ing places:
A: Overture, bars 141–2
B: Act 1, bars 154–64: Arrival of Petrovič at the prison camp (or-
chestra only): includes motto theme;
C: Act 1, bars 327–8: Prisoners tell Nikita to release the eagle;
D: Act 1, bars 607–12: Prisoners dismiss the crazy Skuratov as a
“useless fellow”; includes motto theme;
E: Act 3, bars 35–8: Prelude: end; this music recurs at end of the
opera to words about freedom and the release of the eagle;
F, G, H: Act 3, bars 602–9, 759–72, 826–37): three important mom-
ents in Šiškov’s story about Akulka; H includes the motto theme.
The two-bar maestoso in the overture has all the hallmarks of an “elev-
enth-hour maestoso”. It occurs towards the end after a long Allegro passage
and is immediately swept aside by a Presto and then Allegro, which drives
the music towards its climactic end.
As the summary above show, five of the uses of maestoso include sung
words (C, D, F, G, H). To deal with these first, example C has just three
words, but these are key words to the opera. Janáček made a clear link be-
tween the eagle with a broken wing kept by the prisoners and Alexandr
Petrovič Gorjančikov, whose arrival soon after the beginning of the opera
42
3 structural (ends of Act 1, Act 2 and Act 3);
2 key words, all Act 3: Dikoj declares that storms are a punishment
from God to show his might; Káťa calls out to Boris before their fi-
nal meeting.
The Cunning Little Vixen comment. (1924): 1 occurrence:
1 structural (end of Act 3).
The Makropulos Affair (1926) 4 occurrences:
2 structural (end of Act 2, end of Act 3);
1 suggesting a transcendental change of state for Emilia to emerge
“like a shadow”, Act 3;
1 for important words, Act 3: Marty describes how they tried out
the formula years on her and thus gave her a three-hundred-year
life span.
In From the House of the Dead Janáček used maestoso in the follow-
ing places:
A: Overture, bars 141–2
B: Act 1, bars 154–64: Arrival of Petrovič at the prison camp (or-
chestra only): includes motto theme;
C: Act 1, bars 327–8: Prisoners tell Nikita to release the eagle;
D: Act 1, bars 607–12: Prisoners dismiss the crazy Skuratov as a
“useless fellow”; includes motto theme;
E: Act 3, bars 35–8: Prelude: end; this music recurs at end of the
opera to words about freedom and the release of the eagle;
F, G, H: Act 3, bars 602–9, 759–72, 826–37): three important mom-
ents in Šiškov’s story about Akulka; H includes the motto theme.
The two-bar maestoso in the overture has all the hallmarks of an “elev-
enth-hour maestoso”. It occurs towards the end after a long Allegro passage
and is immediately swept aside by a Presto and then Allegro, which drives
the music towards its climactic end.
As the summary above show, five of the uses of maestoso include sung
words (C, D, F, G, H). To deal with these first, example C has just three
words, but these are key words to the opera. Janáček made a clear link be-
tween the eagle with a broken wing kept by the prisoners and Alexandr
Petrovič Gorjančikov, whose arrival soon after the beginning of the opera
42
