sources - Nottingham eTheses - The University of Nottingham
sources - Nottingham eTheses - The University of Nottingham sources - Nottingham eTheses - The University of Nottingham
in the form simply of cuts; see CHAPTER 2, §2.2, and CHAPTER 3, §3.2). However that may be, both Janáček’s revisions and the publication by the Klub přátel umění can be seen as part of a wider campaign for the opera’s performance in Prague stemming from the sense of injustice felt by Janáček’s many supporters in Brno that Jenůfa had still not been taken up by the National Theatre there. As discussed in some detail by Štědroň, Janáček’s 1906/7 changes resulting in KPU were substantial, 56 and the Brno audience must have been keen to hear the result. This much seems clear from an often overlooked notice by the critic Hubert Doležil in the journal Hudební revue of 1909, complaining that plans to perform Jenůfa in Brno that season had been dropped: A composer of so rare a type and such great originality as Janáček surely has the right to be performed, especially when it is known that he has made considerable alterations to his work which he deserves to hear and which the public, quite rightly, want to know and judge. 57 A period of upheaval at the Brno National Theatre, which included the departure of Hrazdira in 1907, meant that the revised Jenůfa in the end had to wait until 1911 for a series of five further performances in Brno (the conducting shared by Rudolf Pavlata and Josef Winkler); 58 one more isolated performance was given there two years later, on 25 March 1913. Only after a concerted effort by Janáček’s friends, Dr František Veselý and his wife Marie Calma-Veselá, did Kovařovic eventually relent, accepting 56 ZGJ, 84–110. 57 Hudební revue, ii (1909), 71; partial Eng. trans. in Štědroň 1955, 109. 58 According to a note in the trumpet 1 part. Josef Winkler (1885–1942) was conductor at the Brno Theatre in 1907–8, 1909–11 and 1912–1919 (JODA, 105, fn. 2); however the première of the new production on 31 January was conducted by Rudolf Pavlata (1873–1939), cello teacher at the Brno Organ School, who conducted at the Brno Theatre in 1908–11 (JODA, 149, fn. 1). 15
Jenůfa for Prague towards the end of 1915 on condition that he be allowed to make cuts of his own, a condition Janáček gladly accepted at the time. 59 The story of the Prague production, of Janáček’s initial enthusiasm for and later repudiation of the ‘Kovařovic’ version is well rehearsed in the Janáček literature. 60 It was this Prague version of the opera that was published by Universal Edition (UE 1917 and UE 1918), and performed increasingly widely thereafter, particularly in the many opera houses of Germany. 1.6 Restoration of ‘Janáček’s’ Jenůfa It was the Brno-based scholar Hynek Kašlík who first attempted — with a fair degree of success — to identify and unpick Kovařovic’s orchestral retouchings. 61 His pioneering doctoral thesis (Brno, 1934, now apparently lost) was based on the conducting score made for Kovařovic’s Prague performances by J. Košťálek and now housed in the Janáček Archive in Brno. 62 Kašlík’s work led in turn to a 1941 radio broadcast of excerpts under the conductor Břetislav Bakala (yet another Organ School pupil of Janáček’s) using the manuscript Brno parts. This was, however, a performance of Janáček’s final version, the result of his own revisions of 1906/7 (i.e. the ‘1908’ version), plus the further changes he had made between 1911 and 1915, prompted by the Brno revivals of 1911 and 1913 and the growing prospect of a Prague 59 Janáček to Kovařovic, 10 December 1915; JODA, JP79. 60 See especially JODA, 64–77, JA vii and Maria Calma[-Veselá]: ‘Z boje pro Janáčkovou Pastorkyni’ [From the battle for Janáček’s Jenůfa] , Listy Hudební matice, iv (1924–5), 137–47. Janáček’s changing attitude to Kovařovic’s revisions — from his initial enthusiastic acceptance and delight at the resulting successful productions in Prague, Vienna and Berlin, to his later bitterness at the damage these retouchings had done to his own reputation as a composer — is documented in JODA, JP79, JODA 77–91 and 100–7; see also Tyrrell 1996, vii–x / Tyrrell 2000, iv–v. 61 See Kašlík 1938. 62 BmJA, A33.744 a–c. See Tyrrell 1996, xiv / Tyrrell 2000, vii. 16
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Jenůfa for Prague towards the end <strong>of</strong> 1915 on condition that he be allowed to make<br />
cuts <strong>of</strong> his own, a condition Janáček gladly accepted at the time. 59 <strong>The</strong> story <strong>of</strong> the<br />
Prague production, <strong>of</strong> Janáček’s initial enthusiasm for and later repudiation <strong>of</strong> the<br />
‘Kovařovic’ version is well rehearsed in the Janáček literature. 60 It was this Prague<br />
version <strong>of</strong> the opera that was published by Universal Edition (UE 1917 and UE 1918),<br />
and performed increasingly widely thereafter, particularly in the many opera houses <strong>of</strong><br />
Germany.<br />
1.6 Restoration <strong>of</strong> ‘Janáček’s’ Jenůfa<br />
It was the Brno-based scholar Hynek Kašlík who first attempted — with a fair degree<br />
<strong>of</strong> success — to identify and unpick Kovařovic’s orchestral retouchings. 61 His<br />
pioneering doctoral thesis (Brno, 1934, now apparently lost) was based on the<br />
conducting score made for Kovařovic’s Prague performances by J. Košťálek and now<br />
housed in the Janáček Archive in Brno. 62 Kašlík’s work led in turn to a 1941 radio<br />
broadcast <strong>of</strong> excerpts under the conductor Břetislav Bakala (yet another Organ School<br />
pupil <strong>of</strong> Janáček’s) using the manuscript Brno parts. This was, however, a<br />
performance <strong>of</strong> Janáček’s final version, the result <strong>of</strong> his own revisions <strong>of</strong> 1906/7 (i.e.<br />
the ‘1908’ version), plus the further changes he had made between 1911 and 1915,<br />
prompted by the Brno revivals <strong>of</strong> 1911 and 1913 and the growing prospect <strong>of</strong> a Prague<br />
59 Janáček to Kovařovic, 10 December 1915; JODA, JP79.<br />
60 See especially JODA, 64–77, JA vii and Maria Calma[-Veselá]: ‘Z boje pro Janáčkovou Pastorkyni’<br />
[From the battle for Janáček’s Jenůfa] , Listy Hudební matice, iv (1924–5), 137–47. Janáček’s changing<br />
attitude to Kovařovic’s revisions — from his initial enthusiastic acceptance and delight at the resulting<br />
successful productions in Prague, Vienna and Berlin, to his later bitterness at the damage these retouchings<br />
had done to his own reputation as a composer — is documented in JODA, JP79, JODA 77–91 and 100–7;<br />
see also Tyrrell 1996, vii–x / Tyrrell 2000, iv–v.<br />
61 See Kašlík 1938.<br />
62 BmJA, A33.744 a–c. See Tyrrell 1996, xiv / Tyrrell 2000, vii.<br />
16