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BIBLIOGRAPHY The following Bibliography lists all the main bibliographic sources consulted in the preparation of this study. Items are arranged alphabetically by author, then chronologically under that author. Abbreviations BJ III Národní písně moravské v nově nasbírané, compiled by František Bartoš and Leoš Janáček (Prague: Česká akademie císaře Františka Josefa pro vědy, slovesnost a umění, [1899–]1901) [= XIII/3] ČMM Časopis Moravského musea / muzea v Brně: vědy společenské CO John Tyrrell: Czech opera (Cambridge: Cambridge University Press, 1988) HM Hudební matice / Hudební matice Umělecké besedy HTD Leoš Janáček: Hudebně teoretické dílo, ed. Zdeněk Blažek i Spisy, studie a dokumenty (Prague: Supraphon, 1968) ii Studie, Úplná nauka o harmonii (Prague: Supraphon, 1974) JA Janáčkův archiv, first series, general eds Vladimír Helfert (JA i) and Jan Racek (JA ii–ix) i Korespondence Leoše Janáčka s Artušem Rektorysem, ed. Artuš Rektorys (Prague: HMUB, 1934) vi Korespondence Leoše Janáčka s Gabrielou Horvátovou, ed. Artuš Rektorys (Prague: HM, 1950) vii Korespondence Leoše Janáčka s Karlem Kovařovičem a ředitelstvím Národního divadla, ed. Artuš Rektorys (Prague: HM, 1950) viii Korespondence Leoše Janáčka s Marií Calmou a MUDr Františkem Veselým, ed. Jan Racek and Artuš Rektorys (Prague: Orbis, 1951) JaWo Nigel Simeone, John Tyrrell and Alena Němcová: Janáček’s works: A catalogue of the music and writings of Leoš Janáček (Oxford: Clarendon Press, 1997) 193
JODA John Tyrrell: Janáček’s operas: A documentary account (London: Faber and Faber, 1992) References to specific documents use the letter codes given to each opera based on the Czech title: PR Počatek románu (The Beginning of a Romance) JP Její pastorkyňa (Jenůfa) OS Osud (Fate) JYL John Tyrrell: Janáček: Years of a life i (1854–1914): The lonely blackbird (London: Faber and Faber, 2006) ii (1914–1928): Tsar of the forests (London: Faber and Faber, 2007) LD Leoš Janáček: Literární dílo (1875–1928) I/1 -1 Fejetony, studie, kritiky, recenze, glosy, přednášky, proslovy, sylaby a skici, ed. Theodora Straková and Eva Drlíková (Brno: Editio Janáček, 2003) I/1 -2 Članky, studie, koncepty, sylaby, zlomky, neúplné skici, excerpce, membra disjecta, autorizované opisy, ed. Theodora Straková and Eva Drlíková (Brno: Editio Janáček, 2003) NG2 The new Grove dictionary of music and musicians, ed. Stanley Sadie and OM Opus musicum (Brno) John Tyrrell, second edition (London: Macmillan, 2001) OSN Ottův slovník naučný, 28 vols. (Prague: J. Otto, 1888–1909) PHSN i Pazdírkův hudební slovník naučný, i Čast věcná, ed. Gr. Černušák (Brno: Ol. Pazdírek, 1929) SNKLHU Státní nakladatelství krásné literatury, hudby a umění (Prague) SPFF Sborník prací filosofické fakulty brněnské university / univerzity UEW Universal Edition, Wien ZGJ Bohumír Štědroň: Zur Genesis von Leoš Janáčeks Oper Jenufa (Brno: Universita J.E. Purkyně, 1968, 2/1971) [incl. extensive bibliography]; extracts in Eng. in SPFF, H3 (1968), 43–74; H5 (1970), 91–104 Adès 1999 Thomas Adès: ‘“Nothing but pranks and puns”: Janáček’s solo piano music’ in Paul Wingfield (ed.): Janáček Studies (Cambridge: Cambridge University Press, 1999) Adey 1998 Christopher Adey: Orchestral performance: A guide for conductors and players (London: Faber and Faber, 1998) 194
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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
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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
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Jenůfa can also be viewed as part
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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 and 192: 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
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: 192
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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