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nature of the changes, which can then be brought to bear on less clear-cut examples.
It is by no means always the case that the vocal line revisions were made at the same
time as the orchestral ones. Many of the changes to the voice parts were carried out
non-synchronously with those to the instrumental lines. For example, in the
Kostelnička’s passage in Act 2 Scene 1, ‘Už od té chvíle’ (fig. 5), the vocal line
appears to have reached more or less its final form — the second layer of revision —
before the strings, whose 1904 ostinato represents a first layer of revision (see also
CHAPTER 3, Exx. 3.11 and 3.15):
voice orchestra
FS 1.1 FS 1.1
FS 1.2 —
1904 FS 2 FS 2
1908 — FS 3.2
Where there are two variant readings that might both plausibly fit with the
reconstructed orchestral score, I have generally chosen the earlier unless there is good
reason to opt for the latter. Word-setting gave Janáček some problems, since his
dialect Czech was often at variance with the stress patterns of ‘standard’ Czech, and
his many revisions to the voice parts — apparently made incrementally both before
and after the première — reflect his concern to iron out some of these anomalies. In
standard Czech the name ‘Jenůfa’, for instance, has a short, stressed first syllable but a
long, unstressed second syllable. Janáček appears instinctively to have set the first
syllable as an upbeat (which effectively shifts the stress to the second syllable), whilst
in his revisions he generally (though not always) moved it to the more ‘correct’
downbeat position (see CHAPTER 3, Ex. 3.37). In general, the earlier versions of the
vocal lines are not only less ‘correct’ or idiomatic, but also stick rather more closely
and conventionally to the often apparently instrumentally-conceived ideas in the
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