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his earliest notations of speech melodies (1897 onwards). 11 And the idea of the composer actually noting down the noise of the mill-wheel, which might otherwise seem fanciful, is lent at least some credence by the composer’s own words in his unpublished 1924 sketch on naturalism (XV/340): ‘The “wailing wind” plays the piccolo. The clatter of the mill — the xylophone.’ 12 However, just as the mill-wheel itself can take on broader, symbolic resonances in the context of the unfolding action (as a ‘wheel of fate’), so too the xylophone has wider significance than its immediately apparent naturalistic association with the mill, a significance bound up with the history of the instrument itself. To appreciate this, one needs to consider the type of instrument that Janáček was probably writing for. In his introduction to UE 1996, Tyrrell looks into the terminology of some of Janáček’s percussion instruments, notably the ‘lyra’ (a lyre- shaped portable glockenspiel used in military bands) and the ‘zvonky’ (a Czech term meaning ‘little bells’). 13 His comments on the xylophone, however, are restricted to noting its association with the mill-wheel, which ‘perhaps explains the exceptionally low tessitura’. 14 But, at just the time that Jenůfa was being composed and first performed, the xylophone itself was going through an important stage in its organological development. The ‘modern’ orchestral xylophone, with its keyboard- style layout of wooden bars, emerged only in the late 1880s in the United States, where 11 See JYL, 339–54 and 477–89. 12 ‘„Meluzina“ hraje picolou. „Klepot mlýna“ – xylofon.’, LD I/1 -2 , 173; English translation in Beckerman 2003, 295. 13 Tyrrell 1996, xvii–xviii. These terms are explored in greater detail in JaWo, xx–xxii; for their interpretation in the context of the present reconstruction of the 1904 Jenůfa, see CHAPTER 2, §2.4. 14 Tyrrell 1996, xviii. 171
Fig. A6.1 Diagrammatic representation of the four-row, 36-note xylophone. The pitches are those notated (sounding an octave higher). The shaded pitches are the ones used (with some enharmonic re-notation) in Act 1 of Jenůfa. 15 its manufacture was pioneered by John C. Deagan. 16 Its widespread adoption was only gradual, however, and most European orchestras of Janáček’s time would have used a far older type of instrument, the ‘four-row’ xylophone (see Fig. A6.1). Like its younger sister, this was a chromatic instrument, but its wooden bars were arranged laterally in front of the player (in a manner similar to the cimbalom) in four 15 Based on illustration at (website of the Percussive Arts Society; accessed 1 February 2007). 16 See Mike Wheeler, ‘J.C. Deagan percussion instruments’, Percussive Notes, xxxi/2 (1992), 60–64; also http://www.malletshop.com/Quarterly/January_Quarterly_2004.pdf (including [Shannon Wood], ‘A look back: Deagan history part 1’). Apart from his innovations in the field of percussion instruments, John C. Deagan (1852–1932) was also responsible for the recognition of a' = 440 as standard pitch; see Edmund A. Bowles, ‘Deagan’, NG2, vii, 88. 172
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THE 1904 VERSION OF LEOŠ JANÁČEK
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FOR MY FRIENDS, WITHOUT WHOSE NEVER
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APPENDICES 145 APPENDIX I Programme
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Jenůfa. Thanks in part to a certai
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our knowledge of the work’s overa
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Acknowledgements That the project o
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using it. However long this project
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people who have helped me through v
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NOTES Copyright The reconstruction
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UE 1996 Cz./Ger./Eng. full score, e
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1903 version (Urfassung/original ve
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Of Janáček’s nine completed ope
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manuscript sources. There are never
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surviving sketch-leaf (SK) is anyth
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and effort, both physical and emoti
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performed in January 1904. In addit
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most of the critics there were form
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1.5 Later revisions and publication
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Jenůfa for Prague towards the end
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That situation changed, however, wh
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CHAPTER 2: SOURCES AND RECONSTRUCTI
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folio suggests that this brief sket
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ŠFS into line with the Kovařovic
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Fig. 2.2 ŠFS I 203v, detail, rotat
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or other details (erased or otherwi
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Fig. 2.5 ŠVS II 53r (II/vi/126-43)
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list is amended by Janáček, with
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Fig. 2.6 OP violin 1: detail from A
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1904 bn 2 [OP] OPx title page and
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On the facing page (the recto of th
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Fig. 2.9 LB, 55: end of Act 3, show
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issues of practical, pre-revision u
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Jenůfa in 1913, providing a ‘sna
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2.2 Determining the 1904 version fr
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Štědroň 1968b Tyrrell 1996 / Tyr
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two ensembles in Act 1, ‘A vy, mu
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een cut before the première. 46 Th
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and 2 in unison (in the context of
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nature of the changes, which can th
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anomalous status there. 50 A furthe
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Ex. 2.4b However much more practica
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score. Playing standards have impro
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Such instances have been tacitly co
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Ex. 2.7 Articulation and phrasing E
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Instrumentation In line with Univer
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trombone 3 part, and in both ŠFS a
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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
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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
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Ex. 3.16 Sinfonietta VI/18 (1926),
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Ex. 3.19 Other instances of motivic
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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
Page 141 and 142: Jenůfa’s cheek is slashed, but a
Page 143 and 144: Ex. 3.33a Ex. 3.33b 122
Page 145 and 146: so that the stress fell on the firs
Page 147 and 148: the controversy surrounding Josef C
Page 149 and 150: Although numerous instances of smal
Page 151 and 152: Ex. 3.42a Ex. 3.42b This example al
Page 153 and 154: ‘vertical’ dimensions: the harm
Page 155 and 156: most pages of the score; unlike Jan
Page 157 and 158: establishment of the 1904 score, pu
Page 159 and 160: London audiences at the time, 54 Bu
Page 161 and 162: Jenůfa can also be viewed as part
Page 163 and 164: (particularly in textural terms) cl
Page 165 and 166: genre might offer in his own quest
Page 167 and 168: APPENDIX I Programme note from the
Page 169 and 170: APPENDIX II Letter from Cyril Metod
Page 171 and 172: On Saturday following your departur
Page 173 and 174: APPENDIX IV 1906 cuts in ŠVS, ŠFS
Page 175 and 176: Act/sc/bar No. of bars II/viii/187-
Page 177 and 178: Reh. fig. ŠFS KPU UE 1917 10 21
Page 179 and 180: Reh. fig. ŠFS KPU UE 1917 80 57 51
Page 183 and 184: Reh. fig. ŠFS KPU UE 1917 86 8 →
Page 187 and 188: APPENDIX VI Janáček, Jenůfa and
Page 189 and 190: seem to be post-copying additions (
Page 191: Janáček attempted to pursue the m
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
Page 201 and 202: 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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