sources - Nottingham eTheses - The University of Nottingham

sources - Nottingham eTheses - The University of Nottingham sources - Nottingham eTheses - The University of Nottingham

etheses.nottingham.ac.uk
from etheses.nottingham.ac.uk More from this publisher
01.03.2013 Views

to the opera-going public almost exclusively in the version prepared for the 1916 Prague première by Kovařovic, a version published by Universal Edition in 1917–18 (UE 1917 and UE 1918) which enjoyed a monopoly in stage productions for more than seven decades. 7 Even J.M. Dürr’s 1969 edition of the score (UE 1969) preserved — and in some cases added to — Kovařovic’s revised orchestration. 8 In the early 1980s Sir Charles Mackerras began the difficult task of paring away the layers of revisions to Janáček’s score, 9 but the complex nature of the surviving manuscript sources meant that it was to be a further fourteen years before a reliable representation of the pre-Kovařovic score could be issued. With the publication in 1996 of an edition prepared by Mackerras and Tyrrell (UE 1996), we have a more complete picture than ever of the score as Janáček himself left it before Kovařovic’s intervention. 10 The increasing use by many international opera houses of the Mackerras-Tyrrell edition has already proved how successful Janáček’s score in its pre-Kovařovic state can be. The version of Jenůfa heard at the 1904 première has, however, proved as elusive as the Kovařovic version was tenacious, a result largely of the extreme thoroughness with which subsequent revisions were carried out in the surviving 7 UE 1917 was published in December 1917 (plate number UE 5651), UE 1918 in September 1918 (plate number UE 6001); see JaWo, 16. The ‘prototype’ of the Mackerras-Tyrrell edition (see below) was first heard in public at the Glyndebourne Festival on 19 May 1989. 8 UE 1969 includes further modifications to the score made by later conductors including Erich Kleiber and Václav Talich; see Dürr 1968. 9 This had been attempted previously only by Hynek Kašlík in the 1930s, leading to broadcast performances of excerpts in 1941 (see below). Mackerras’s initial performing version of the cleaned- up Jenůfa, which led in turn to UE 1996, was first heard at the Paris Opéra in November 1980 and was subsequently recorded by him for Decca in Vienna in April 1982 (first released on LP and cassette in 1983). 10 Leoš Janáček, Jenůfa/Její pastorkyňa: Brněnská verze (1908) ed. Sir Charles Mackerras and John Tyrrell (Vienna: Universal Edition, 1996); four years later, Universal Edition issued the corresponding vocal score (UE 2000). 3

manuscript sources. There are nevertheless good reasons for trying to recover it, for Jenůfa is unique among Janáček’s operatic works in being subjected by the composer to a series of revisions as a direct result of the experience of a run of early staged performances. It might therefore afford potentially valuable insights into the compositional process of what is arguably Janáček’s first operatic masterpiece. Furthermore, any reconstruction would be likely to fill what has hitherto been a conspicuous gap in our knowledge of Janáček’s wider development as an opera composer between his first two efforts in the genre (which effectively constituted an apprenticeship in established operatic subgenres) and the works of his artistic maturity. 1.2 Initial genesis 11 Janáček’s second opera, Počátek románu, had set an adaptation by Jaroslav Tichý of a short story by the young author Gabriela Preissová (1862–1946). In November 1890 Preissová’s ‘drama of Moravian rural life’ 12 Její pastorkyňa was premièred at the National Theatre in Prague; the following January it was staged in Brno, a production Janáček is likely to have seen. 13 The composer seems to have approached Preissová with the idea of setting Její pastorkyňa in early November 1893, for on 6 November she wrote to him: ‘I think that the material of P[astorkyňa] is not suitable for musical setting — but perhaps in time we’ll find something more suitable.’ 14 Despite this initial discouragement, Janáček appears to have persevered, eventually winning 11 For more detailed accounts of Jenůfa’s pre-history and early genesis, see especially ZGJ, JODA, Tyrrell 1996 and Tyrrell 2000. 12 ‘Drama z venkovského života moravského’: the genre description of Preissová’s play. 13 JODA, 42. 14 JODA, JP5. 4

to the opera-going public almost exclusively in the version prepared for the 1916<br />

Prague première by Kovařovic, a version published by Universal Edition in 1917–18<br />

(UE 1917 and UE 1918) which enjoyed a monopoly in stage productions for more<br />

than seven decades. 7 Even J.M. Dürr’s 1969 edition <strong>of</strong> the score (UE 1969) preserved<br />

— and in some cases added to — Kovařovic’s revised orchestration. 8 In the early<br />

1980s Sir Charles Mackerras began the difficult task <strong>of</strong> paring away the layers <strong>of</strong><br />

revisions to Janáček’s score, 9 but the complex nature <strong>of</strong> the surviving manuscript<br />

<strong>sources</strong> meant that it was to be a further fourteen years before a reliable representation<br />

<strong>of</strong> the pre-Kovařovic score could be issued. With the publication in 1996 <strong>of</strong> an edition<br />

prepared by Mackerras and Tyrrell (UE 1996), we have a more complete picture than<br />

ever <strong>of</strong> the score as Janáček himself left it before Kovařovic’s intervention. 10 <strong>The</strong><br />

increasing use by many international opera houses <strong>of</strong> the Mackerras-Tyrrell edition<br />

has already proved how successful Janáček’s score in its pre-Kovařovic state can be.<br />

<strong>The</strong> version <strong>of</strong> Jenůfa heard at the 1904 première has, however, proved as<br />

elusive as the Kovařovic version was tenacious, a result largely <strong>of</strong> the extreme<br />

thoroughness with which subsequent revisions were carried out in the surviving<br />

7 UE 1917 was published in December 1917 (plate number UE 5651), UE 1918 in September 1918<br />

(plate number UE 6001); see JaWo, 16. <strong>The</strong> ‘prototype’ <strong>of</strong> the Mackerras-Tyrrell edition (see below)<br />

was first heard in public at the Glyndebourne Festival on 19 May 1989.<br />

8 UE 1969 includes further modifications to the score made by later conductors including Erich Kleiber<br />

and Václav Talich; see Dürr 1968.<br />

9 This had been attempted previously only by Hynek Kašlík in the 1930s, leading to broadcast<br />

performances <strong>of</strong> excerpts in 1941 (see below). Mackerras’s initial performing version <strong>of</strong> the cleaned-<br />

up Jenůfa, which led in turn to UE 1996, was first heard at the Paris Opéra in November 1980 and was<br />

subsequently recorded by him for Decca in Vienna in April 1982 (first released on LP and cassette in<br />

1983).<br />

10 Leoš Janáček, Jenůfa/Její pastorkyňa: Brněnská verze (1908) ed. Sir Charles Mackerras and John<br />

Tyrrell (Vienna: Universal Edition, 1996); four years later, Universal Edition issued the corresponding<br />

vocal score (UE 2000).<br />

3

Hooray! Your file is uploaded and ready to be published.

Saved successfully!

Ooh no, something went wrong!