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By Erik Chisholm and K. A. Wright (Auth.)

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Don J u a n engages him with his sword, runs him through the body; while Don J u a n is cleaning his sword, Elvira runs off screaming. After removing the corpse, Kedril returns with food, pushing in front of him the ugly cobbler's wife. She desires to be amorous with Don J u a n but, after one look at her face, the Don is having none of her and, at a sign from his master, Kedril throws the ugly cobbler's wife out of the room. Don J u a n starts eating his supper. 40 THE OPERAS OF LEOS JANACEK A moment later the servant returns with the clergyman's attractive wife.

25 till [15]) (b) RE-ENTRANCE OF THE M A J O R (p. 29) Janaöek begins this with a motif consisting of a three-note descending scale stressing an open fifth, contrasting with it a spirited dance-like measure (strings and trombone (con moto)) suggesting that the convicts derive a lot of fun from teasing the eagle. The open fifth motif reappears on tremolo strings (Meno mosso p. 26) suggesting the laboured move- THE HOUSE OF THE DEAD 31 ments of the eagle with a broken wing: a quick run up of piccolo, clarinet and ilute landing on ay/; trill [14], depicts the flight of a bird to freedom; a moment later the prisoners sing in harmony He is the Tzar of the Forest Orel car lesù !

51 to indicate this. Luka describes the terrible punishment inflicted on him following his fatal attack on the Major (the bass of p. "). Janâéek is again inattentive for he allows Petrovic to be led out at the end of p. 54, without comments from the orchestra. The last eighty-odd bars of the act are given over entirely to endless repetition of the dual motif Janacek has associated with Skuratov, who is not even on the stage at the close of the act. The unrelenting insistence on this two-bar motif (swinging from E flat minor to B major) certainly creates a feeling of great agitation, excitement, restlessness and confusion, particularly during the uninhibited revolutionarymusic Coda—firmly in Aflatminor—which concludes one of the most powerful and emotionally disturbing first acts in all opera.

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