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None of the above-mentioned will begrudge pride of place here to Prof. John Tyrrell. It was John who first introduced me to the world of Janáček and his music during my undergraduate years, and who was largely responsible for my involvement with the ‘Janáček project’ during my time at Universal Edition. His suggestion that I should return to Nottingham enabled me gradually to turn what might have remained a pipe dream into some sort of reality. Although he officially supervised only the first two years of what turned out to be a much longer project, he has remained ‘unofficial’ supervisor throughout, ever ready to share his unmatched knowledge of Janáček and his music. He has regularly put at my disposal his vast collection of Janáčkiana, and (under the guise of asking me to ‘read through’) gave me unfettered pre-publication access to his new Janáček biography, with its many new facts and insights into Janáček’s life and works. John has read through all of what follows; this study would have been much poorer without his unerring ability to sort the chaff from the wheat, and his always pertinent comments and suggestions have been much valued. Above all, he has retained faith in and enthusiasm for the project even when my own faltered; our many discussions on the subject of Jenůfa over the years have filtered into this work at every possible level. He has, in short, been a wholly benevolent pěstoun throughout. xvi Nottingham, All Hallows’ Eve, 2007
NOTES Copyright The reconstruction of the full score (VOLUMES II/1, II/2 and II/3) is © Copyright 2007 by Universal Edition A.G., Wien. Music examples from Jenůfa, Káťa Kabanová, Věc Makropulos and the Sinfonietta appear by courtesy of the publisher, Universal Edition, Vienna. Facsimiles from the manuscript full score (referred to here as ‘ŠFS’; full details in CHAPTER 2, §2.1 ‘Sources’) of Jenůfa are reproduced by courtesy of the Österreichische Nationalbibliothek, Musiksammlung, Vienna. Facsimiles from the manuscript vocal score (‘ŠVS’), manuscript orchestral parts (‘OP’ and ‘OPx’) and manuscript libretto (‘LB’) of Jenůfa are reproduced by courtesy of the Moravian Regional Museum, Brno (full details in CHAPTER 2, §2.1). Recording A provisional version of the present reconstruction of the 1904 version of Jenůfa was staged by the Warsaw Chamber Opera in May 2004. An in-house archive recording of the third performance (30 May 2004) has been issued as a non-commercial, archival CD set (WOK 0047 A/B). A copy of this recording is deposited in the record collection of the Denis Arnold Music Library, Department of Music, University of Nottingham, where it may be listened to. JaWo catalogue numbers References to Janáček’s works and writings are accompanied on their first mention by the appropriate number in the catalogue of Janáček’s works, JaWo (see BIBLIOGRAPHY), xvii
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 and 14: using it. However long this project
Page 15: people who have helped me through v
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
Page 65 and 66: Jenůfa in 1913, providing a ‘sna
Page 67 and 68:
2.2 Determining the 1904 version fr
Page 69 and 70:
Štědroň 1968b Tyrrell 1996 / Tyr
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two ensembles in Act 1, ‘A vy, mu
Page 73 and 74:
een cut before the première. 46 Th
Page 75 and 76:
and 2 in unison (in the context of
Page 77 and 78:
nature of the changes, which can th
Page 79 and 80:
anomalous status there. 50 A furthe
Page 81 and 82:
Ex. 2.4b However much more practica
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score. Playing standards have impro
Page 85 and 86:
Such instances have been tacitly co
Page 87 and 88:
Ex. 2.7 Articulation and phrasing E
Page 89 and 90:
Instrumentation In line with Univer
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trombone 3 part, and in both ŠFS a
Page 93 and 94:
Act 1. On the basis of all availabl
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development of twentieth-century op
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3.1 The Urfassung and the pre-premi
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seems also to reflect an original c
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could speculate that the change of
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accompaniment evaporates completely
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This radical pre-première revision
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corresponds to the present figs 122
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more specific cuts, the first of tw
Page 111 and 112:
with the same words, but also agree
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and 16b in APPENDIX IV) to Laca’s
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y Laca’s ‘Chci, Jenůfka’ —
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Other extensive cuts made at this s
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Ex. 3.12 3.3.2 Textural alterations
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Ex. 3.13b This revision is similar
Page 123 and 124:
Ex. 3.16 Sinfonietta VI/18 (1926),
Page 125 and 126:
Ex. 3.19 Other instances of motivic
Page 127 and 128:
In 1908 Janáček delays the appear
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Whilst a general trend at this stag
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Ex. 3.25b 3.3.3 Folk passages and t
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Fig. 3.2 BJ III, 900. The use by et
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sketch for the oboe melody of the p
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Ex. 3.27c In his 1907 changes to th
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Janáček added ‘Maestoso con mot
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Jenůfa’s cheek is slashed, but a
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Ex. 3.33a Ex. 3.33b 122
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so that the stress fell on the firs
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the controversy surrounding Josef C
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Although numerous instances of smal
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Ex. 3.42a Ex. 3.42b This example al
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‘vertical’ dimensions: the harm
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most pages of the score; unlike Jan
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establishment of the 1904 score, pu
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London audiences at the time, 54 Bu
Page 161 and 162:
Jenůfa can also be viewed as part
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(particularly in textural terms) cl
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genre might offer in his own quest
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APPENDIX I Programme note from the
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APPENDIX II Letter from Cyril Metod
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On Saturday following your departur
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APPENDIX IV 1906 cuts in ŠVS, ŠFS
Page 175 and 176:
Act/sc/bar No. of bars II/viii/187-
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Reh. fig. ŠFS KPU UE 1917 10 21
Page 179 and 180:
Reh. fig. ŠFS KPU UE 1917 80 57 51
Page 181 and 182:
Page 183 and 184:
Reh. fig. ŠFS KPU UE 1917 86 8 →
Page 185 and 186:
Page 187 and 188:
APPENDIX VI Janáček, Jenůfa and
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seem to be post-copying additions (
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Janáček attempted to pursue the m
Page 193 and 194:
Fig. A6.1 Diagrammatic representati
Page 195 and 196:
to use the four-row instrument well
Page 197 and 198:
conducted a programme of choral and
Page 199 and 200:
its icy tone will be damped’ sugg
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APPENDIX VII Bar counts for the dif
Page 203 and 204:
APPENDIX VIIIa ŠVS I 72v-73r: tran
Page 205 and 206:
APPENDIX VIIIb ŠVS I 72v-73r: tran
Page 207 and 208:
APPENDIX IX ŠFS I 197v-200v: trans
Page 209 and 210:
188
Page 211 and 212:
190
Page 213 and 214:
192
Page 215 and 216:
JODA John Tyrrell: Janáček’s op
Page 217 and 218:
Dürr 1968 Joannes Martin Dürr:
Page 219 and 220:
Smaczny 1985 Jan Smaczny: ‘Janá
Page 221:
Vogel 1981 ——: Leoš Janáček:
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