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harp and violin lines. In the 1908 version, the exact doubling is removed in the
alteration to the first bar:
Ex. 3.41
(d) Vocal range
The above example also highlights another feature of the 1908 revisions: the
modification of a number of instances of high-lying voice parts. In some instances —
perhaps most spectacularly the long cut to Laca’s ‘Chci, Jenůfka’ in Act 2 Scene8 —
this may have been motivated at least in part out of a consideration (admittedly
uncharacteristic of Janáček) for the singers. Earlier in the same scene Laca’s vocally
extravagant greeting, ‘Jenůfka! Potěš tě Panbůh, Jenůfka!’ [Jenůfa! God comfort you,
Jenůfa!], is likewise sustained at a demandingly high tessitura in 1904 (Ex. 3.42a).
The 1908 version (Ex. 3.42b), whilst retaining the initial, expressively powerful three-
note vocal gesture (now brought forward by one bar), replaces the dogged ardour of
the 1904 continuation with music that is both tenderer and less unforgiving for the
voice; and the changes to the orchestral accompaniment are also typical of the sorts of
textural transformation already described above.
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