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Such instances have been tacitly corrected. Furthermore, the triplet semiquaver string
figuration in the prelude to Act 2 is explicit only from II/i/40, and even then is
erratically notated. Again, comparison with ŠVS suggests that triplet semiquavers
should be applied throughout, and therefore this and other such passages have
likewise been corrected without further comment.
Dynamics
Editorial dynamics such as mf and pp are given in small type; other editorial dynamic
markings (dim., cresc. and hairpins) are indicated by square brackets. Dynamics
added by players to the Brno parts are indicated in parentheses (e.g. the trumpet
crescendo hairpin at fig. 84 in Jenůfa’s Act 2 solo). Štross makes frequent use of rf
(rinforzando); however Janáček, in his additions, corrections and revisions to parallel
passages, consistently prefers sf (sforzando), suggesting a notational equivalence by
which Štross’s rf is to be understood in the sense of a sudden accent. The present
edition therefore uses sf throughout.
ŠFS also makes use of general dynamic indications (dim. and cresc.) which
indicate the overall dynamic progression of certain passages, independently of the
finer, localised dynamic shaping in individual instrumental and vocal lines, and
sometimes in conjunction with tempo markings (e.g. accel. e cresc.). In the present
edition these general dynamics are given above the top woodwind and string staves in
the same type as the tempo indications.
Concerning the further reasons for retaining Janáček’s own original dynamics,
see ‘Instrumentation’ below.
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