sources - Nottingham eTheses - The University of Nottingham
sources - Nottingham eTheses - The University of Nottingham sources - Nottingham eTheses - The University of Nottingham
was ever played as part of the opera. In the bassoon 2 Act 1 part it is labelled ‘Úvod’, in violin 2 ‘Ouvertura’, and in all the other 1911 parts ‘Předehra’ [prelude]. Distinct from the other material in this set is a pair of clarinet parts copied in 1913–14. These are dated by the copyist 12 September 1913 (clarinet 1) and 27 February 1914 (clarinet 2). Together with the absence of copying dates in most of the other OPx parts, these dates have led to the belief that OPx is a combination of material dating from 1904 (i.e. OP), 1913/14 and 1916, with the first wave of recopying coming only in 1913. 32 Essentially, these two clarinet parts contain the 1907/11 version of the opera, and appear to have been copied directly from the heavily revised OP clarinet parts. However, their clean condition and absence of performance markings suggests that they were never used in complete performances of the opera. Rehearsal numbers and neat blue ink alterations in Act 1 Scene 1, Act 2 Scene 1 and the final scene of Act 3 point to their use in (or — given the absence of other markings — merely preparation for) the 1941 Brno radio performance of excerpts conducted by Břetislav Bakala. 33 It is, however, unclear why these parts were copied in 1913/14 and then never (apparently) used in complete performances of the opera. Difficulties in using the much-altered 1904 material for the one-off performance of Jenůfa in Brno on 25 March 1913 may have led to plans for recopying, with a view to possible future revivals (repertory at the Brno theatre was decided on an ad hoc, almost day-to-day basis, according to profitability). 34 In any event their existence seems to have been overlooked when a pair of completely new clarinet parts was copied in 1916, incorporating Kovařovic’s revisions. The significance of the two 1913/14 clarinet parts is the light they shed on the shape of 32 Němcová 1980, 163 33 See Chapter 1, §1.6. 34 CO, 47 43
Jenůfa in 1913, providing a ‘snapshot’ of the opera’s form at that point: the last performance of the work in Brno prior to Janáček’s late revisions and those of Kovařovic. In particular, they confirm that two passages in Act 2 Scene 3 consigned in UE 1996 to appendices (= II/iii/200–9 and 231–6 in the present edition) formed part of the text of the opera up to and including 1913. 35 Like the OPx parts copied in 1911, they also contain the music of the Úvod, designated ‘Předehra’. The remaining OPx parts (including Act 3 of bassoon 2, the individual percussion parts and the ‘za scénou’ strings) were copied in 1916 from Kovařovic’s revised version of the work. 36 All of these 1916 parts lack the Úvod, a sign (together with its complete absence from the KPU vocal score) that this independent prelude had by that time been definitively dropped from the opera. The material contained in OPx thus falls into four chronological groups: (1) 1903–04: bn 2 (Act 2) (2) 1911: ob 1/cor angl, bn 2 (Act 1), vn 1 ×2 (desks 2 and 3), vn 2 (desk 1), va, vc, db (3) 1913/14: cl 1, cl 2 (both unused) (4) 1916: picc, fl 1, fl 2, ob 2, cl 1, cl 2, bass cl, bn 1, bn 2 (Act 3), hn 1, hn 2, hn 3, hn 4, tpt 1, tpt 2, trbn 1, trbn 2, trbn 3, tuba, timp, cym, xyl, trgl, vn 1 (desk 1), vn 2 (desk 2); ‘Za scénou’: vn 1, vn 2, va, vc, db 35 UE 1996, 486–91. The final revised versions of these passages (see above, ‘ŠFS’) are used as the main text in UE 1996 on the grounds that they appear to be among Janáček’s own late, pre-Kovařovic revisions of November 1915 (see Tyrrell 1996, xii / Tyrrell 2000, vii; see also below, §2.2). 36 The ‘Kovařovic’ version of Jenůfa was premièred at the Prague National Theatre on 26 May 1916; it received its Brno première on 4 October that year. The following two performances in Brno (9 and 11 October) featured the celebrated Prague Kostelnička, Gabriela Horvátová (1877–1967), as several players noted in their parts (ob 1, hn 2, hn 3, tpt 1, timp). 44
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was ever played as part <strong>of</strong> the opera. In the bassoon 2 Act 1 part it is labelled ‘Úvod’,<br />
in violin 2 ‘Ouvertura’, and in all the other 1911 parts ‘Předehra’ [prelude].<br />
Distinct from the other material in this set is a pair <strong>of</strong> clarinet parts copied in<br />
1913–14. <strong>The</strong>se are dated by the copyist 12 September 1913 (clarinet 1) and 27<br />
February 1914 (clarinet 2). Together with the absence <strong>of</strong> copying dates in most <strong>of</strong> the<br />
other OPx parts, these dates have led to the belief that OPx is a combination <strong>of</strong><br />
material dating from 1904 (i.e. OP), 1913/14 and 1916, with the first wave <strong>of</strong><br />
recopying coming only in 1913. 32 Essentially, these two clarinet parts contain the<br />
1907/11 version <strong>of</strong> the opera, and appear to have been copied directly from the<br />
heavily revised OP clarinet parts. However, their clean condition and absence <strong>of</strong><br />
performance markings suggests that they were never used in complete performances<br />
<strong>of</strong> the opera. Rehearsal numbers and neat blue ink alterations in Act 1 Scene 1, Act 2<br />
Scene 1 and the final scene <strong>of</strong> Act 3 point to their use in (or — given the absence <strong>of</strong><br />
other markings — merely preparation for) the 1941 Brno radio performance <strong>of</strong><br />
excerpts conducted by Břetislav Bakala. 33 It is, however, unclear why these parts<br />
were copied in 1913/14 and then never (apparently) used in complete performances <strong>of</strong><br />
the opera. Difficulties in using the much-altered 1904 material for the one-<strong>of</strong>f<br />
performance <strong>of</strong> Jenůfa in Brno on 25 March 1913 may have led to plans for<br />
recopying, with a view to possible future revivals (repertory at the Brno theatre was<br />
decided on an ad hoc, almost day-to-day basis, according to pr<strong>of</strong>itability). 34 In any<br />
event their existence seems to have been overlooked when a pair <strong>of</strong> completely new<br />
clarinet parts was copied in 1916, incorporating Kovařovic’s revisions. <strong>The</strong><br />
significance <strong>of</strong> the two 1913/14 clarinet parts is the light they shed on the shape <strong>of</strong><br />
32 Němcová 1980, 163<br />
33 See Chapter 1, §1.6.<br />
34 CO, 47<br />
43