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the controversy surrounding Josef Charvát’s review-article in Jeviště (see Chapter 1,
§1.3). The particular problem raised at that time centred on the numerous repetitions
of Stařenka Buryjovka’s words in the Act 1 ensemble ‘Každý párek’. Janáček, in
collaboration with Hrazdira, had begun to address the problem in the 1906 cuts to both
this section and the immediately preceding ensemble, ‘A vy, muzikanti’ (see §3.2);
these abridgements were then taken further in his 1907/8 cuts (see above, §3.3.1).
There remained, however, many more localised examples of the repetition of
‘individual passages of text’ throughout the opera. A few instances had been removed
early on in the revision process (such as Ex. 3.7) as well as in 1906. But, although
many repetitions even made it past the eagle-eyed Kovařovic (Exx. 3.34 and 3.36 both
still feature in the 1916 version of Jenůfa), by far the greatest number were addressed
during the revisions and subsequent proof-corrections that resulted in KPU. They
include both small-scale repetitions of words and short phrases of text, and longer
phrase repetitions. In Ex. 3.5 (§3.1), for instance, not only was the immediate
repetition, ‘to je mi, to je mi podivné’, removed by 1907, but the repeat of the entire
four-bar phrase was cut. Sometimes, even when the larger-scale phrase repetition was
retained, the shorter verbal ones were modified (in Ex. 3.37, at the same time as a
correction of the declamation; both changes were made at proof stage):
Ex. 3.37
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