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orchestra (see CHAPTER 3, §3.3.4). As such, they are of considerable interest in the
context of the gradual emergence of Janáček’s conception of speech-melody and its
influence on his vocal music in particular. In the publicity material for the Jenůfa
première, Janáček made much of this new development in his music, but its at best
only partial realisation goes some way to explaining the rather dismissive, if not
outright hostile reaction of the Prague critics to the Brno première.
2.4 Notes to the reconstruction
Any edition that goes beyond the mere reproduction of an existing manuscript or
printed source inevitably contains anomalies, whether acknowledged therein or not.
Departures from the original sources, be they in the form not only of unwittingly
introduced new errors but also of corrections, editorial suggestions, completions, or
choices between competing readings, even when made for the soundest possible
reasons, entail to some extent a remove from the historically transmitted text. This
edition is no exception.
Dürr’s 1969 edition of Jenůfa, whilst it did not pretend to embody a
chronologically specific ‘version’ of the opera as such, preserved Kovařovic’s
retouchings, as well as supplementing them with further alterations by later
conductors. 49 However, at the same time Dürr restored the Kostelnička’s Act 1 solo
‘Aji on byl zlatohřivý’, even though it had been cut from the opera by Janáček himself
by 1906 (and demonstrably so, from Dürr’s vantage point, by 1908). Mackerras and
Tyrrell, using the plates of UE 1969 as the basis for their edition of the ‘Brno version
1908’, retained this passage in UE 1996/2000 whilst at the same time acknowledging its
49 See Dürr 1968 and Dürr’s Preface to UE 1969.
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