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TABLE 3.1: Early notational changes to ŠFS and ŠVS
Act/sc bars original by Oct 1903 comments
I/iii 1–18 6/4 (12/8) Stařenka: ‘Co ty, Jenůfo, za mamičkou
nechodíš?’
I/iv
I/v
1–61
1–3
6/4 recruits: ‘Všeci sa ženija’
I/v 4–24 3/2 3/4 orch. interlude
Jenůfa: ‘Duša moja, Števo, Števuško!’
Števa: ‘Já, já! Já napilým?’
25–68 6/4 Števa: ‘To ty mně, Jenůfka!’
69–186 6/4 2/4 number of bars doubled, i.e. one 6/4 bar
becomes two 2/4 bars
187–205 6/4 chorus: ‘Daleko, široko’ – Kostelnička’s
entrance
325–34 6/8 6/16 recruits: ‘Ale je to přísná ženská’
I/vi 97–128 5/8 4/8 Jenůfa: ‘Beztoho bude’ (Andante)
129–40 5/8 2/4 Števa: ‘Vždyť vidíš, tetka Kostelnička
mne pro tebe’ (Allegro)
I/vii 68–94 2/8 2/4 Laca: ‘Okaž, já ti ji zastrčím za
kordulku’ – Jenůfa: ‘Dej ji sem!’
(ŠVS only; ŠFS always 2/4)
107 6/4 3/2 Jenůfa: ‘mohu se pýšit!’ (Maestoso)
117–22 continuation of
preceding 3/8
2/4 fig. 114: Presto
the change of metre explains why the
left hand in ŠVS is in triplet
semiquavers rather than quavers
II/i 124–88 key sig: 2 sharps 2 flats Jenůfa: ‘Řekla jste sama’: some of this
passage originally a semitone higher
163–97 3/4 3/8 Kostelnička: ‘Ale bude bečat’
II/iii 210–30 4/16 2/8 Števa: ‘A vás, tetko’
II/iv 43–84 3/2 3/4 Kostelnička: ‘Laco, ty máš všecko
zvědět ... Jenůfa, bědná děvčica’
II/viii 1–9 3/8 Presto
(17 bars)
2/4 Kostelnička: ‘Tu zrovna jde!’
24–136 2/4 2/8 Jenůfa: ‘Děkuji ti, Laco’
III/xi 23–53 2/4 4/8 Grave Kostelnička: ‘Odpusť mi jenom ty’
That most of these notational changes are found in Act 1 is hardly surprising, as this
was the earliest Act to be composed by several years, and thus the most likely to be in
need of being brought ‘up to date’. Most extensive, in terms of number of bars
affected, is the re-notation of the ‘folk’ passages in Act 1 Scenes 3 to 5 (the pseudo-
folksongs ‘Všeci sa ženija’ and ‘Daleko, široko’), in which the metrical framework
changed from 6/4 to . Although this can be viewed as a largely cosmetic change, it
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