sources - Nottingham eTheses - The University of Nottingham

een rationalised here, as they have been in all scores published by Universal Edition;
see APPENDIX V, which includes the original scene numberings.
Rehearsal figures
The present reconstruction adopts the rehearsal figures used by Dürr (UE 1969) and
Mackerras-Tyrrell (UE 1996/2000), again in order to facilitate comparison with those
editions. However, because the present edition contains substantially more music,
these rehearsal figures have been supplemented with extra ones (e.g. 118a, 118b)
where appropriate. As in UE 1917, UE 1969 and UE 1996/2000, the strophic pseudo-
folksongs in Acts 1 and 3 (‘Daleko, široko’ and ‘Ej, mamko, mamko’), notated as
repeated passages in ŠFS, ŠVS and KPU, are here written out in full. A concordance
with the original rehearsal numbers as used in ŠFS and KPU is provided in APPENDIX V.
1906 cuts
The cuts made to Acts 1 and 2 of Jenůfa by the time of the three performances in autumn
1906 (see above, and APPENDIX IV) are indicated by vi- -de markings above the top
stave.
Key signatures and accidentals
Notoriously, Janáček’s choice of key signatures often appears quixotic, and for this
reason both UE 1969 and UE 1996/2000 rationalised these, for the most part either
using more appropriate ones or dispensing with them altogether. For the present
reconstruction, Janáček’s original governing key signatures 51 have been reinstated:
they served as the basis for KPU, UE 1917/18 and all later Czech editions of the vocal
51 i.e. the general key signatures applying to the vocal lines and non-transposing instruments.
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