sources - Nottingham eTheses - The University of Nottingham
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and effort, both physical and emotional, must have been <strong>of</strong>fset by a well-founded<br />
sense <strong>of</strong> trepidation. For the music director in Prague was none other than the<br />
conductor, composer and sometime harpist Karel Kovařovic (1862–1920), whose own<br />
opera Ženichové [<strong>The</strong> bridegrooms, 1882; first performed Prague 1884] had been sent<br />
up by Janáček in a satirical review (XV/70) in the journal Hudební listy in January<br />
1887. 31 Sure enough, at the end <strong>of</strong> April the scores <strong>of</strong> Jenůfa were returned to Janáček<br />
with a curt rejection from the National <strong>The</strong>atre’s administrative director. 32 Janáček’s<br />
wife Zdenka then persuaded him, at first with difficulty, to allow the Brno National<br />
<strong>The</strong>atre — a much smaller and less august institution than its Prague counterpart,<br />
based in a converted dance hall and with only a tiny chorus and orchestra — to stage<br />
the work. Well aware <strong>of</strong> the limitations <strong>of</strong> the Brno theatre, the composer<br />
nevertheless eventually agreed.<br />
A letter Janáček wrote on 3 October 1903 to Camilla Urválková 33 gives the<br />
first surviving indication <strong>of</strong> any pre-première revisions to Jenůfa:<br />
31 Hudební listy, iii (1886–7), 54; reprinted in Štědroň 1946, 111–12 and LD I/1 -1 , 122; Eng. trans. in<br />
JODA, JP12. <strong>The</strong> attack on Ženichové must have seemed all the more personal given that Hudební listy<br />
was, in effect, Janáček’s ‘own’ journal, founded and edited by him; see JYL i, 287–96. Seven years<br />
later, when Janáček submitted Jenůfa to the Prague National <strong>The</strong>atre, Kovařovic might well have<br />
reflected that Janáček’s earlier sarcastic suggestion <strong>of</strong> stage action more suitable for the music <strong>of</strong><br />
Ženichové — ‘full <strong>of</strong> horrible gloom, desperate screams, bodies stabbed by daggers’ — pretty well<br />
summed up aspects <strong>of</strong> the action in Jenůfa.<br />
32 Gustav Schmoranz to Janáček, 28 April 1903, JA vii, 17; Eng. trans. JODA, JP15.<br />
33 Janáček had met Mrs Camilla Urválková (1875–1956) whilst holidaying at the Moravian spa <strong>of</strong><br />
Luhačovice in August 1903; she was to provide the inspiration (together with Luhačovice itself) for his<br />
next opera, Osud [Fate] (I/5). See JODA, 109 and 366.<br />
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