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[often]. 28 Neither of these however, found their way into the published versions of
Janáček’s score (KPU in 1908, UE in 1917/18), or indeed even into ŠFS and ŠVS.
Dates entered at the end of the libretto give some idea of its brief lifespan as
performance material as used by prompters. The end of Act 3 is signed and dated (26
October 1903) by the copyist, Kostka. 29 In chronological order, prompters’ dates are
as follows: on the inside back cover in pencil is the annotation: 11/5. 1904 Č.[eské]
Budějovice Koudelky (i.e. the prompter Koudelka); in pencil underneath Kostka’s date
on page 55: 7/2 1905 | J Novotný and the comment Chudák Čenský byl nemocen [poor
Čenský was ill]; and on the otherwise blank page 56: V Moravské Ostravě, 25/9 06
Háček. Although this suggests that LB was used as prompter’s copy from 1904 to
1906, three dates from autumn 1906 entered into ŠVS by the same ‘Háček’ (including
25 September) seem to indicate that by then it was ŠVS, with the 1906 cuts marked in,
that was being used for this purpose. LB was thus probably used by the prompter for
all performances of Jenůfa in 1904 and the single performance (7 February) in 1905.
Notwithstanding some inaccuracies and anomalies noted by Štědroň in his
description of this source, LB’s usually very precise indication of word- and phrase-
repetition offers great help in reconstructing the 1904 vocal parts, as discussed below.
Although Štědroň’s discussion of LB at times seems to imply that Janáček revised this
source in creating the 1907/8 version of Jenůfa, it is clear both from an examination of
the manuscript and from the wider context of Štědroň’s remarks that he was referring
to the text (in the ‘abstract’ sense) embodied in LB rather than to the manuscript
itself. 30 With the exception of the dates relating to composition, etc., added later by
Janáček himself on the manuscript’s preliminary pages, all the annotations relate to
28 LB, 27.
29 LB, 55.
30 See especially Štědroň 1966b, 516 and ZGJ, 81.
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