sources - Nottingham eTheses - The University of Nottingham
sources - Nottingham eTheses - The University of Nottingham sources - Nottingham eTheses - The University of Nottingham
hp timp trbn 3/4 trbn 2 trbn 1 tpt 2 tpt 1 hn 3/4 hn 2 hn 1 fg 1 cl 2 cl 1 ob 2 ob 1 fl 2 db vc va Place Date* Year vn 1 Brno 21.I 1904 28.I 31.I 2.II 23.II 28.II 15.III 3.IV 15.IV České Budějovice 11.V Písek 30.V Brno 7.XII 7.II 1905 Moravská Ostrava 25.IX 1906 Brno 6.X 9.X 1.I 1911 () 24.I () 31.I 6.II 13.II () 14.III 21.III () 22.III 21.IV 25.III 1913 APPENDIX III: Lifespan of OP parts (1904–13) italicised date = doubtful; = date in part; () = date in part doubtful; = continued use; = possible continued use *dates are of performances, except where indicated as doubtful
APPENDIX IV 1906 cuts in ŠVS, ŠFS and OP string parts Cuts (a)–(c) were cut from the second performance of Jenůfa (28 January 1904) because of the indisposition of the Jenůfa, Maria Kabeláčová, but subsequently reinstated. Cuts (1)–(16) were all made by September/October 1906, many of them as a result of C.M. Hrazdira’s suggestions to Janáček (see APPENDIX II). Cuts (16a) and (16b) are, respectively, a shorter and longer version of a cut to the Laca solo and Laca/Jenůfa duet which begins ‘Chci, Jenůfka, chci, Jenůfka’. Cuts (i)–(v) (all shown here in italics) were indicated in pencil in SVS, apparently made by Hrazdira, but were not adopted by Janáček or incorporated into the other performance material. Square brackets indicate that the cut is not indicated in the source in question. () = cut made in OP string parts but later rubbed out. Act/sc/bar No. of bars ŠVS (fol/sys/bar) I/v/210–18 9 35r/II/2– 35r//IV I/v/236– 310 ŠFS (fol/bar) 152 OP strings Cut no./date/comments 95v–96v/3 (1) Kostelnička’s entrance; ‘reminiscence’ theme ?1904/06 Originally suggested as a 10-bar cut, to 35v/I/1; later (1907) extended to 10 bars 75 36r/III–40r/1 99v–111r (2) Kostelnička’s narration (‘Aji on byl zlatohřivý’) ?1904/06 I/v/369–71 3 44v/III 121v (3) ‘A vy, muzikanti’ 1906: suggested by Hrazdira I/v/387–94 8 46r–46v/1 124v–125v (4) ‘A vy, muzikanti’ continued 1906: suggested by Hrazdira I/v/399– 400 2 47r/II [127r] (5) ‘A vy, muzikanti’ continued 1906: suggested by Hrazdira The cut markings in ŠVS were later (1907/8) rubbed out to adapt this passage to a longer cut I/v/405–7 3 48r/I–II/1 128v– 129r/1 I/v/461–74 14 51v–52r 135r/3– 136v I/v/484–95 12 53v/2–55v/1 [138r/2– 140r/1] (6) ‘A vy, muzikanti’ continued 1906: suggested by Hrazdira (a) (7) ‘Každý párek si musí’ ?1904: cut at second performance (28 January)? subsequently reinstated 1906: later suggested by Hrazdira → Němcová 1984, 27 () (b) ‘Každý párek si musí’ continued 1904: cut at second performance (28 January 1904), subsequently reinstated (cut markings rubbed out) → Němcová 1984, 27 I/v/491–2 2 54r/1–2 [138v/1–2] (i) ‘Každý párek si musí’ continued ?1906: suggested by Hrazdira?
- Page 121 and 122: Ex. 3.13b This revision is similar
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APPENDIX IV<br />
1906 cuts in ŠVS, ŠFS and OP string parts<br />
Cuts (a)–(c) were cut from the second performance <strong>of</strong> Jenůfa (28 January 1904) because <strong>of</strong><br />
the indisposition <strong>of</strong> the Jenůfa, Maria Kabeláčová, but subsequently reinstated.<br />
Cuts (1)–(16) were all made by September/October 1906, many <strong>of</strong> them as a result <strong>of</strong> C.M.<br />
Hrazdira’s suggestions to Janáček (see APPENDIX II). Cuts (16a) and (16b) are, respectively,<br />
a shorter and longer version <strong>of</strong> a cut to the Laca solo and Laca/Jenůfa duet which begins<br />
‘Chci, Jenůfka, chci, Jenůfka’.<br />
Cuts (i)–(v) (all shown here in italics) were indicated in pencil in SVS, apparently made by<br />
Hrazdira, but were not adopted by Janáček or incorporated into the other performance material.<br />
Square brackets indicate that the cut is not indicated in the source in question.<br />
() = cut made in OP string parts but later rubbed out.<br />
Act/sc/bar No. <strong>of</strong><br />
bars<br />
ŠVS<br />
(fol/sys/bar)<br />
I/v/210–18 9 35r/II/2–<br />
35r//IV<br />
I/v/236–<br />
310<br />
ŠFS<br />
(fol/bar)<br />
152<br />
OP<br />
strings<br />
Cut no./date/comments<br />
95v–96v/3 (1) Kostelnička’s entrance;<br />
‘reminiscence’ theme<br />
?1904/06<br />
Originally suggested as a 10-bar cut, to<br />
35v/I/1; later (1907) extended to 10 bars<br />
75 36r/III–40r/1 99v–111r (2) Kostelnička’s narration (‘Aji on byl<br />
zlatohřivý’)<br />
?1904/06<br />
I/v/369–71 3 44v/III 121v (3) ‘A vy, muzikanti’<br />
1906: suggested by Hrazdira<br />
I/v/387–94 8 46r–46v/1 124v–125v (4) ‘A vy, muzikanti’ continued<br />
1906: suggested by Hrazdira<br />
I/v/399–<br />
400<br />
2 47r/II [127r] (5) ‘A vy, muzikanti’ continued<br />
1906: suggested by Hrazdira<br />
<strong>The</strong> cut markings in ŠVS were later<br />
(1907/8) rubbed out to adapt this passage<br />
to a longer cut<br />
I/v/405–7 3 48r/I–II/1 128v–<br />
129r/1<br />
I/v/461–74 14 51v–52r 135r/3–<br />
136v<br />
I/v/484–95 12 53v/2–55v/1 [138r/2–<br />
140r/1]<br />
(6) ‘A vy, muzikanti’ continued<br />
1906: suggested by Hrazdira<br />
(a) (7) ‘Každý párek si musí’<br />
?1904: cut at second performance (28<br />
January)? subsequently reinstated<br />
1906: later suggested by Hrazdira<br />
→ Němcová 1984, 27<br />
() (b) ‘Každý párek si musí’ continued<br />
1904: cut at second performance (28<br />
January 1904), subsequently reinstated<br />
(cut markings rubbed out)<br />
→ Němcová 1984, 27<br />
I/v/491–2 2 54r/1–2 [138v/1–2] (i) ‘Každý párek si musí’ continued<br />
?1906: suggested by Hrazdira?