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CHAPTER 3: THE REVISION PROCESS This chapter examines the 1904 version of Jenůfa within the context of the opera’s revision history, and thus explores a significant part of the work’s musico-dramatic evolution. The ability to identify more precisely than hitherto the content of the 1904 version provides a terminus ante et post quem for determining the various layers of revision that came before and after it. And this in turn opens up the possibility of a more nuanced view of both the opera’s own genesis (including the revision process itself), and also its relationship to certain wider musical and operatic developments of the time, which are considered in the brief conclusion (§3.6). The following survey examines the nature of the revisions undertaken, the immediate contexts within which they occurred and, more particularly, what purposes — technical, notational, textural, rhythmic, expressive — they seem to have been intended to fulfil, in terms of the specific question of the shaping and reshaping of the opera. They afford us a glimpse, at however remote a distance, into Janáček’s workshop (or at least the workshop of his mind and inner ear, and later his real ear as well), as well as into the stage-by-stage evolution of the piece. In addition to offering an overview of the wider revision process of which the 1904 version is part, this chapter also seeks to arrive at a general typology of revision, thereby suggesting how the different sorts of change contributed to and in turn reflect Janáček’s evolving conception of the work. With its composition straddling two centuries in more than just the strictly chronological sense, Jenůfa is often rightly viewed as a transitional work: between its composer’s operatic juvenilia and his mature essays in the genre, in the context of the emergence of Janáček’s mature musical style in general, and indeed in the wider 73
development of twentieth-century opera. Whilst such transitional qualities are by no means always reflected in or dependent on a work’s genesis, Jenůfa provides one of the most striking cases of convergence: a transitional opera, itself in the process of transition. Although one can reasonably speak of four ‘versions’ of Jenůfa — original, 1904, 1908 and 1916 — there are good grounds, as suggested in CHAPTER 2, for regarding the process of revision as somewhat more fluid than even the establishment of a discrete series of layers might suggest (see TABLE 2.1). Inevitably, recognised ‘versions’ proposed by musicologists tend to coalesce around verifiable dates, as transmitted through manuscripts, publications, other documents and performances. There are usually good reasons for this state of affairs: composers’ revisions are themselves normally (although by no means invariably) prompted by the immediate prospects of performance or publication, whether realised or not, and thus tend to be concentrated around such events. Often, however, the versions established as a result — or at least, the labels by which they become known — can be misleading. Thus, for instance, the ‘1908 version’ of Jenůfa, as embodied in the KPU published vocal score, appears already to have been subjected to minor revisions by the time it was first performed in January 1911, and it was further altered up until the time of the pre- Prague revisions of 1915. It is this ‘final revision’ of the ‘1908 version’ that is presented in the Mackerras-Tyrrell edition (UE 1996 / UE 2000). 1 The need to allow for a certain latitude in labelling versions recognises not only the need for simplicity as well as transparency in such matters, but also the fact that the reality of the revision process will usually lie somewhere between the extremes of a series of ‘fixed’, 1 See Tyrrell 1996, vii, xii and xv / Tyrrell 2000, iv and vii. 74
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THE 1904 VERSION OF LEOŠ JANÁČEK
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FOR MY FRIENDS, WITHOUT WHOSE NEVER
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APPENDICES 145 APPENDIX I Programme
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Jenůfa. Thanks in part to a certai
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our knowledge of the work’s overa
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Acknowledgements That the project o
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using it. However long this project
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people who have helped me through v
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NOTES Copyright The reconstruction
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UE 1996 Cz./Ger./Eng. full score, e
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1903 version (Urfassung/original ve
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Of Janáček’s nine completed ope
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manuscript sources. There are never
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surviving sketch-leaf (SK) is anyth
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and effort, both physical and emoti
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performed in January 1904. In addit
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most of the critics there were form
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1.5 Later revisions and publication
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Jenůfa for Prague towards the end
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That situation changed, however, wh
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CHAPTER 2: SOURCES AND RECONSTRUCTI
Page 43 and 44: folio suggests that this brief sket
Page 45 and 46: ŠFS into line with the Kovařovic
Page 47 and 48: Fig. 2.2 ŠFS I 203v, detail, rotat
Page 49 and 50: or other details (erased or otherwi
Page 51 and 52: Fig. 2.5 ŠVS II 53r (II/vi/126-43)
Page 53 and 54: list is amended by Janáček, with
Page 55 and 56: Fig. 2.6 OP violin 1: detail from A
Page 57 and 58: 1904 bn 2 [OP] OPx title page and
Page 59 and 60: On the facing page (the recto of th
Page 61 and 62: Fig. 2.9 LB, 55: end of Act 3, show
Page 63 and 64: issues of practical, pre-revision u
Page 65 and 66: Jenůfa in 1913, providing a ‘sna
Page 67 and 68: 2.2 Determining the 1904 version fr
Page 69 and 70: Štědroň 1968b Tyrrell 1996 / Tyr
Page 71 and 72: two ensembles in Act 1, ‘A vy, mu
Page 73 and 74: een cut before the première. 46 Th
Page 75 and 76: and 2 in unison (in the context of
Page 77 and 78: nature of the changes, which can th
Page 79 and 80: anomalous status there. 50 A furthe
Page 81 and 82: Ex. 2.4b However much more practica
Page 83 and 84: score. Playing standards have impro
Page 85 and 86: Such instances have been tacitly co
Page 87 and 88: Ex. 2.7 Articulation and phrasing E
Page 89 and 90: Instrumentation In line with Univer
Page 91 and 92: trombone 3 part, and in both ŠFS a
Page 93: Act 1. On the basis of all availabl
Page 97 and 98: 3.1 The Urfassung and the pre-premi
Page 99 and 100: seems also to reflect an original c
Page 101 and 102: could speculate that the change of
Page 103 and 104: accompaniment evaporates completely
Page 105 and 106: This radical pre-première revision
Page 107 and 108: corresponds to the present figs 122
Page 109 and 110: more specific cuts, the first of tw
Page 111 and 112: with the same words, but also agree
Page 113 and 114: and 16b in APPENDIX IV) to Laca’s
Page 115 and 116: y Laca’s ‘Chci, Jenůfka’ —
Page 117 and 118: Other extensive cuts made at this s
Page 119 and 120: Ex. 3.12 3.3.2 Textural alterations
Page 121 and 122: Ex. 3.13b This revision is similar
Page 123 and 124: Ex. 3.16 Sinfonietta VI/18 (1926),
Page 125 and 126: Ex. 3.19 Other instances of motivic
Page 127 and 128: In 1908 Janáček delays the appear
Page 129 and 130: Whilst a general trend at this stag
Page 131 and 132: Ex. 3.25b 3.3.3 Folk passages and t
Page 133 and 134: Fig. 3.2 BJ III, 900. The use by et
Page 135 and 136: sketch for the oboe melody of the p
Page 137 and 138: Ex. 3.27c In his 1907 changes to th
Page 139 and 140: Janáček added ‘Maestoso con mot
Page 141 and 142: Jenůfa’s cheek is slashed, but a
Page 143 and 144: Ex. 3.33a Ex. 3.33b 122
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so that the stress fell on the firs
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the controversy surrounding Josef C
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Although numerous instances of smal
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Ex. 3.42a Ex. 3.42b This example al
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‘vertical’ dimensions: the harm
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most pages of the score; unlike Jan
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establishment of the 1904 score, pu
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London audiences at the time, 54 Bu
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Jenůfa can also be viewed as part
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(particularly in textural terms) cl
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genre might offer in his own quest
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APPENDIX I Programme note from the
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APPENDIX II Letter from Cyril Metod
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On Saturday following your departur
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APPENDIX IV 1906 cuts in ŠVS, ŠFS
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Act/sc/bar No. of bars II/viii/187-
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Reh. fig. ŠFS KPU UE 1917 10 21
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Reh. fig. ŠFS KPU UE 1917 80 57 51
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Reh. fig. ŠFS KPU UE 1917 86 8 →
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APPENDIX VI Janáček, Jenůfa and
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seem to be post-copying additions (
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Janáček attempted to pursue the m
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Fig. A6.1 Diagrammatic representati
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to use the four-row instrument well
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conducted a programme of choral and
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its icy tone will be damped’ sugg
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APPENDIX VII Bar counts for the dif
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APPENDIX VIIIa ŠVS I 72v-73r: tran
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APPENDIX VIIIb ŠVS I 72v-73r: tran
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APPENDIX IX ŠFS I 197v-200v: trans
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188
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190
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192
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JODA John Tyrrell: Janáček’s op
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Dürr 1968 Joannes Martin Dürr:
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Smaczny 1985 Jan Smaczny: ‘Janá
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Vogel 1981 ——: Leoš Janáček:
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