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detail resulted from the incorporation of Janáček’s subsequent 1906/7 revisions,
published in KPU in 1908. It is thus evident that the bottom layer of OP provided the
basic text for all performances of Jenůfa during the period 1904–6.
2.3 The process of reconstruction
The orchestral score
The ability to pinpoint the early stages of revision to OP allows the ‘base layer’ of
these parts to serve as the basis of a reconstruction of the 1904 score. The strings,
with their relatively few changes, form the foundation of the reconstruction. They not
only determine much of the detail of the première version, but also its broader shape
in terms of number of bars, metre and tempo indications. The copyists, doubtless
working under pressure of time, did not always bother too much with the finer
nuances of articulation and dynamics: sf and ff, for example, are often abbreviated to
a simple f. But the occasional metronome mark appears to confirm that Janáček had
indeed added these indications by the time the parts were copied.
Often more difficult to decipher is the original form of the wind and
percussion parts: some of these were in use until 1911, or even 1916, and thus contain
many more layers of revision in the form of cuts, paste-overs and scratchings out.
However, by using a fibre-optic light source, most of the pasted-over passages can be
read with a good deal of accuracy; and a combination of keen eyesight and
comparison with ŠFS and the restored OP string parts enables almost all the other
altered passages to be reconstructed in their original form with a high degree of
certainty. In the case of the missing parts (flute 1, bassoon 2 and violin 2) the ‘ghost’
image of erased notes can usually be read from the heavily altered ŠFS, often in
conjunction with the surviving parts. For instance, Janáček frequently uses violins 1
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