Page 47 - 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
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janáček’s maestoso
thing of the redemptive quality heard in examples above from Jenůfa and
Makropulos.
What upsets Šiškov most is that Akulka (now his wife) readily forgives
Filka. Her action seals her fate. In a two-bar maestoso passage he tells Akul-
ka that her end is come. What is striking about this final example is that
Šiškov’s words are sung against the short and striking motif often known
as the “motto theme” that dominates Act 1. This is the only instance where
the maestoso in Janáček’s autograph manuscript differs from that in the
authorized copy. The latter has it in the position shown in the example;
Janáček originally had it, less logically, two bars later.
Example 7: Janáček: From the House of the Dead, Act 3. © With kind permission by Universal
Edition A.G., Wien. www.universaledition.com
Soon after the beginning of the opera the prisoners in a Siberian prison
camp await the arrival of the new prisoner, Alexander Petrovič G orjančikov.
This first maestoso in the act begins with the motto theme. There follows a
very high, violin solo, set against low accompaniment, which seems to sug-
45
thing of the redemptive quality heard in examples above from Jenůfa and
Makropulos.
What upsets Šiškov most is that Akulka (now his wife) readily forgives
Filka. Her action seals her fate. In a two-bar maestoso passage he tells Akul-
ka that her end is come. What is striking about this final example is that
Šiškov’s words are sung against the short and striking motif often known
as the “motto theme” that dominates Act 1. This is the only instance where
the maestoso in Janáček’s autograph manuscript differs from that in the
authorized copy. The latter has it in the position shown in the example;
Janáček originally had it, less logically, two bars later.
Example 7: Janáček: From the House of the Dead, Act 3. © With kind permission by Universal
Edition A.G., Wien. www.universaledition.com
Soon after the beginning of the opera the prisoners in a Siberian prison
camp await the arrival of the new prisoner, Alexander Petrovič G orjančikov.
This first maestoso in the act begins with the motto theme. There follows a
very high, violin solo, set against low accompaniment, which seems to sug-
45
