sources - Nottingham eTheses - The University of Nottingham
sources - Nottingham eTheses - The University of Nottingham sources - Nottingham eTheses - The University of Nottingham
translations; and my old Decca colleague Paula Kennedy with the Czech, as did Jan Špaček. Two other ex-Decca friends, Jeremy Hall and Mari Pračkauskas, have helped to keep me on the not always straight or narrow. Prof. Robert Pascall gave helpful advice on the examination of manuscript sources based on his own extensive experience. Tom Walker and James Williams have ferried me, for the most part uncomplainingly, to and from various airports in the course of my study trips. Additionally, Tom spent long and often unsocial hours proofreading the reconstruction before its performance in Warsaw in May 2004, and also read and commented on a number of drafts for this study at various stages, constantly encouraging me, often in the strongest possible terms. James has provided essential and much valued assistance with IT matters in the latter stages. Sir Charles Mackerras was one of the key inspirations for this study, both through his peerless performances of Janáček’s operas and through his lifelong quest to get to the ‘real’ Janáček. His keen interest in the project at all stages has been a major factor in its realisation, and his practical application of research has served as a constant model. Jonathan Tilbrook’s support for and faith in the reconstruction led to a concert performance of part of it in March 2000: the opportunity to hear Act 2 of the 1904 Jenůfa (unperformed for almost a century) with University of Nottingham forces under Jonathan’s direction was the sort of practical experience and encouragement of which I had until then only dreamt. It proved a crucial spur to the continuation of work on Acts 1 and 3 at a difficult time. Much of the work that follows was done against the background of persistent and often debilitating depression. I owe a special debt of gratitude to a number of xiv
people who have helped me through various stages: Prof. Elemer Szabadi, Dr Simon Tavernor and Dr Ruth Shaw of the Queen’s Medical Centre, Nottingham, together with members of the nursing staff; the staff and members at the Middle Street Resource Centre (formerly the Beeston Day Centre), especially Peter Burgum, Teresa Woodyatt, Robert Ashford and Ken Bullivant; and, particularly, Dr Alan Lee and Dr Bernard Ratigan, whose professional expertise in both cases overlaps with a genuine love and knowledge of Janáček’s operas. Rachel Scott has, for the last few years, regularly provided essential and much-valued practical and moral support, for which I am especially grateful. My parents, Ronald and Rosemary Audus, have supported and encouraged me throughout, sometimes no doubt bemused by it all, but have always been there when it mattered. Two people in particular have helped this project to fruition. The first is Stefan Sutkowski, founder director of the Warsaw Chamber Opera. His unshakeable belief in the value of early versions of operatic works led him to commission a performing version of the complete 1904 Jenůfa, which was staged in Warsaw in May 2004 as the Czech component of an extraordinary year-long musical celebration of the enlarged European Union. To hear the ‘original’ Jenůfa in the year of its centenary and of Janáček’s 150th birthday was not only revelatory but also profoundly moving. My deep and lasting gratitude goes to Director Sutkowski, to Ruben Silva (conductor), Jitka Stokalska (producer), the splendid cast and all those involved in the pit and behind the scenes; and especially to Wanda Tuka (now at the Fryderyk Chopin Institute, Warsaw), who wrung the work out of me with a perfect blend of tenacity and diplomacy. xv
- Page 1 and 2: THE 1904 VERSION OF LEOŠ JANÁČEK
- Page 3 and 4: FOR MY FRIENDS, WITHOUT WHOSE NEVER
- Page 5 and 6: APPENDICES 145 APPENDIX I Programme
- Page 7 and 8: Jenůfa. Thanks in part to a certai
- Page 9 and 10: our knowledge of the work’s overa
- Page 11 and 12: Acknowledgements That the project o
- Page 13: using it. However long this project
- Page 17 and 18: NOTES Copyright The reconstruction
- Page 19 and 20: UE 1996 Cz./Ger./Eng. full score, e
- Page 21 and 22: 1903 version (Urfassung/original ve
- Page 23 and 24: Of Janáček’s nine completed ope
- Page 25 and 26: manuscript sources. There are never
- Page 27 and 28: surviving sketch-leaf (SK) is anyth
- Page 29 and 30: and effort, both physical and emoti
- Page 31 and 32: performed in January 1904. In addit
- Page 33 and 34: most of the critics there were form
- Page 35 and 36: 1.5 Later revisions and publication
- Page 37 and 38: Jenůfa for Prague towards the end
- Page 39 and 40: That situation changed, however, wh
- Page 41 and 42: CHAPTER 2: SOURCES AND RECONSTRUCTI
- Page 43 and 44: folio suggests that this brief sket
- Page 45 and 46: ŠFS into line with the Kovařovic
- Page 47 and 48: Fig. 2.2 ŠFS I 203v, detail, rotat
- Page 49 and 50: or other details (erased or otherwi
- Page 51 and 52: Fig. 2.5 ŠVS II 53r (II/vi/126-43)
- Page 53 and 54: list is amended by Janáček, with
- Page 55 and 56: Fig. 2.6 OP violin 1: detail from A
- Page 57 and 58: 1904 bn 2 [OP] OPx title page and
- Page 59 and 60: On the facing page (the recto of th
- Page 61 and 62: Fig. 2.9 LB, 55: end of Act 3, show
- Page 63 and 64: issues of practical, pre-revision u
people who have helped me through various stages: Pr<strong>of</strong>. Elemer Szabadi, Dr Simon<br />
Tavernor and Dr Ruth Shaw <strong>of</strong> the Queen’s Medical Centre, <strong>Nottingham</strong>, together<br />
with members <strong>of</strong> the nursing staff; the staff and members at the Middle Street<br />
Resource Centre (formerly the Beeston Day Centre), especially Peter Burgum, Teresa<br />
Woodyatt, Robert Ashford and Ken Bullivant; and, particularly, Dr Alan Lee and Dr<br />
Bernard Ratigan, whose pr<strong>of</strong>essional expertise in both cases overlaps with a genuine<br />
love and knowledge <strong>of</strong> Janáček’s operas. Rachel Scott has, for the last few years,<br />
regularly provided essential and much-valued practical and moral support, for which I<br />
am especially grateful.<br />
My parents, Ronald and Rosemary Audus, have supported and encouraged me<br />
throughout, sometimes no doubt bemused by it all, but have always been there when it<br />
mattered.<br />
Two people in particular have helped this project to fruition. <strong>The</strong> first is<br />
Stefan Sutkowski, founder director <strong>of</strong> the Warsaw Chamber Opera. His unshakeable<br />
belief in the value <strong>of</strong> early versions <strong>of</strong> operatic works led him to commission a<br />
performing version <strong>of</strong> the complete 1904 Jenůfa, which was staged in Warsaw in May<br />
2004 as the Czech component <strong>of</strong> an extraordinary year-long musical celebration <strong>of</strong> the<br />
enlarged European Union. To hear the ‘original’ Jenůfa in the year <strong>of</strong> its centenary<br />
and <strong>of</strong> Janáček’s 150th birthday was not only revelatory but also pr<strong>of</strong>oundly moving.<br />
My deep and lasting gratitude goes to Director Sutkowski, to Ruben Silva (conductor),<br />
Jitka Stokalska (producer), the splendid cast and all those involved in the pit and<br />
behind the scenes; and especially to Wanda Tuka (now at the Fryderyk Chopin<br />
Institute, Warsaw), who wrung the work out <strong>of</strong> me with a perfect blend <strong>of</strong> tenacity and<br />
diplomacy.<br />
xv
Change language