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‘vertical’ dimensions: the harmonic language, textures, spacing, and the sense of
musical and dramatic light and shade, all of which, together with the pacing, create the
unmistakable ‘feel’ of a work.
3.4 Revisions made after 1908
None of the post-1908 revisions made either by Janáček or subsequently by Kovařovic
come anywhere near the radicalness, in nature or extent, of those made by the
composer himself in 1907/8. On 24 January 1911 — just one week before the first
Brno revival of Jenůfa since October 1906 (and thus the first since the publication of
the KPU vocal score) — Jan Kunc wrote to Janáček offering to meet to make ‘some
suggestions for correcting the mistakes in declamation, quite a few of which remain
even in the corrected vocal score.’ 41 Kunc’s suggestions (in line with Janáček’s own
changes to the voice parts in his 1907/8 revisions) were probably then incorporated
into the series of five performances at the Brno National Theatre between 31 January
and 21 April that year (see APPENDIX III for a list of performances).
However, the rewriting of two passages for Števa in Act 2 Scene 3 (at figures
44 and 47), which Tyrrell has suggested also took place at this time, probably did not
occur until much later. 42 There is no sign of the revised version of either of these
passages in the pair of Brno clarinet parts copied in 1913/14. 43 Much more likely is
that these revisions were made by Janáček (and then copied into ŠFS for him by
41 Kunc to Janáček, BmJA, A 349; see JYL i, 767. The phrase ‘corrected vocal score’ appears simply to
refer to KPU, which had been ‘corrected’ at proof stage by Janacek, rather than to the errata sheet (ER)
which seems to have been published in connection with the Prague production of May 1916, and which
contains a list of cuts and some changes, but no corrections to ‘mistakes in declamation’.
42 Tyrrell 1996, xii / Tyrrell 2000, vii.
43 See CHAPTER 2, §2.1, OPx.
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