sources - Nottingham eTheses - The University of Nottingham

list is amended by Janáček, with voice types added in the right-hand margin. On the recto
of the third interleaved folio is pasted a telegram from Engelmann & Mühlberg to
‘direktor jaunacek [sic] | bruenn 2 klosterplatz’ dated 30 December 1907 (some two
weeks after ŠVS had originally been sent to Leipzig) requesting the manuscript’s
urgent return. 16 Beneath this telegram are pasted two postage receipts, dated 30 and
31 December 1907, for ‘Manuskript’ sent from Brno to Engelmann & Mühlberg.
Act 1 fol. 77 was removed as part of extensive pre-première alterations to the
end of this Act. The music contained on it — twelve bars in total — would have
corresponded to bars 5–16 of the passage reconstructed from ŠFS I 197v–200r as
presented in APPENDIX IX (see also CHAPTER 3, §3.1).
The end of Act 1 (fol. 79v) is signed ‘Josef Štross’ preceded by an erasure (a
date?) that is no longer legible: see notes above concerning the corresponding place in
ŠFS. At the end of Act 2 (76v) in Štross’s hand: 8/7. 902. J Štross. At the end of Act
3 (61v) in Štross’s hand: 25. Ledna 1903. | 3½ hodiny od poledne | J Štross. | Copist.
[25 January 1903 | 3.30 p.m. | J. Štross | Copyist]. Beneath this, in miniscule Cyrillic
script in Janáček’s hand: Тебе Ольго! В память | 18/3 1903 [Tebe Olgo! V pamyat' /
To you, Olga! In memory]. 17
In a letter to Otakar Nebuška on 22 February 1917 giving an account of Jenůfa’s
composition, Janáček maintained that ‘I compose first in full score and do the vocal
16 Janáček had only just received the first batch of proofs (see Tyrrell 1996, xiii / Tyrrell 2000, vii): the
engravers had perhaps sent with them the whole manuscript, rather than just that portion of the vocal
score already set, hence the urgent request for the return of ‘des uns so noetigen manuscriptes’. The
Janáčeks’ (rented) home from 1882 to 1910 was at Klášterní 2 in Staré Brno.
17 The copying of ŠVS was thus finished by Štross on 25 January 1903, and 18 March 1903 appears to
be the date by which Janáček had looked through the score, made any preliminary corrections and added
the dedication to his daughter, who had died just three weeks earlier; see JODA, 48.
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