¹ John Tyrrell deals with Janáček's speech-melody theory and operatic vocal writing principally in four publications: ‘Janáček and the Speech-Melody Myth’, Musical Times, 111 (1970), 793–6CrossRefGoogle Scholar; Leoŝ Janáček: Kát'a Kabanová, Cambridge Opera Handbooks (Cambridge, 1982), 9–20Google Scholar; ‘Janáček’ in The New Grove: Turn of the Century Masters, ed. Sadie, Stanley (London, 1985), 1–77 (pp. 42–6)Google Scholar; Czech Opera, Cambridge National Traditions of Opera (Cambridge, 1988), 282–98.Google Scholar

² A more detailed account of the rhythm (but not the intonation) of Czech can be found in Tyrrell, , Czech Opera (see n. 1), 253–8.Google Scholar

³ Czech Opera, 255.Google Scholar

⁴ The characteristics listed here apply to standard Czech. As Tyrrell notes ( Czech Opera, 288Google Scholar), Janáček was born in north-east Moravia and his native dialect ‘under the influence of neighbouring Polish tended to stress the penultimate syllable’. Though Janáček's native dialect should always be borne in mind in any examination of his vocal writing, this dialect sheds no light on the musical examples in this article.

⁵ A catalogue of 98 articles and autograph sources containing Janáček's pronouncements about and/or examples of speech melody is printed in Bohumír Stédroň, Zur Genesis von Leoš Janáčeks Oper Jenůfa (Brno, 1968; rev. 2nd edn, 1972), 149–52.Google Scholar

⁶ Janáček, Leoš, interview for Literární svět (8 03 1928)Google Scholar, in Zemanova, Mirka, Janáček's Uncollected Essays on Music (London, 1989), 120–4 (p. 121).Google Scholar

⁷ Janáček, Leoš, ‘The Language of Our Actors and the Stage’ (Moravskcá revue, 1899), in Essays (see n. 6), 36–8 (p. 37).Google Scholar

⁸ Essays, 38.Google Scholar

⁹ Essays, 37.Google Scholar

¹⁰ Essays, 37.Google Scholar

¹¹ Janáček, Leoš, ‘He had an Excellent Ear’ (Lidovénoviny, 8 01 1924)Google Scholar, in Essays, 48–50 (p. 49).Google Scholar Janáček gives no source for his alleged quotation from Plato.

¹² Essays, 122.Google Scholar

¹³ Janáček, Leoš, ‘Around Jenůfa’ (Hudební revue, 1915–16)Google Scholar, in Essays, 84–91 (p. 90).Google Scholar

¹⁴ Essays, 90.Google Scholar

¹⁵ Essays, 87.Google Scholar

¹⁶ For details about this instrument and Janáček's use of it see Racek's, Jan introduction to Blažek, Zdeněk, ed., Leoš Janáček: Hudebně teoretické dílo [Music theory works], 1 (Prague, 1968), 9–20 (p. 18).Google Scholar

¹⁷ Štědroň, Bohumír, ed., Leoš Janáček: Letters and Reminiscences, rev. Eng. trans. (Prague, 1955), 183–4.Google Scholar

¹⁸ Essays, 85.Google Scholar

¹⁹ Essays, 91.Google Scholar

²⁰ Essays, 91.Google Scholar

²¹ A substantial account of Russian Realist ideas and their effect on nineteenth-century Russian opera is offered by Taruskin, Richard, ‘Realism as Preached and Practiced: The Russian Opera Dialogue’, Musical Quarterly, 56 (1970), 431–54.CrossRefGoogle Scholar

²² Dahlhaus, Carl, Realism in Nineteenth-century Music, trans. Whittall, Mary (Cambridge, 1985), 115.Google Scholar

²³ Realism in Nineteenth-Century Music, 26.Google Scholar

²⁴ Taruskin, , ‘Realism as Preached’ (see n. 21), 440Google Scholar; see also Leyda, Jay and Bertensson, Sergei, eds., The Musorgsky Reader: A Life of Modeste Petrovich Musorgsky in Letters and Documents (New York, 1947), 111–12.Google Scholar

²⁵ See Vrba, Přemysl, ‘Janáčekova ruská knihovna’ [Janáček's Russian Library], S1ezský sbornik 58 (1960), 242–9.Google Scholar

²⁶ Janáček's experience of Musorgsky's oeuvre is considered in depth in Gozenpud, Abram, ‘Janáček a Musorgskij’, Opus musicum, 12 (1980), no. 4, 101–9Google Scholar; no. 5, i–viii.

²⁷ Brušák, Karel, ‘Drama into Libretto’, in John, Nicholas, ed., Janáček: Jenůfa/Katya Kabanová, ENO Opera Guides (London, 1985), 13–20 (p. 18).Google Scholar

²⁸ Janáček, Leoš, ‘Smetana's Daughter’ (Lidové noviny, 3 10 1924), in Essays, 51–7.Google Scholar

²⁹ Essays, 48–50 (p. 49).Google Scholar

³⁰ Essays, 49.Google Scholar

³¹ Essays, 91.Google Scholar

³² Racek, Jan, Leoš Janáček: človék a umělec [Man and Artist] (Brno, 1963), 80.Google Scholar

³³ Realism in Nineteenth-Century Music (see n. 22), 102–4.Google Scholar

³⁴ See especially Tyrrell, , ‘Janáček and the Speech-Melody Myth’ (n. 1).Google Scholar

³⁵ Tyrrell, , Turn of the Century Masters (see n. 1), 46.Google Scholar

³⁶ Czech Opera (see n. 1), 297.Google Scholar

³⁷ Leoš Janáček: Kát'a Kabanová (see n. 1), 13.Google Scholar

³⁸ Turn of the Century Masters (see n. 1), 46.Google Scholar

³⁹ References to vocal scores in this article will be to the following editions: Jenůfa, Hudební matice H. M. 89 (Prague, 1934)Google Scholar; Kát'a Kabanová, Universal Edition UE 7103 (Vienna, 1922)Google Scholar; and The Makropulos Affair, Universal Edition UE 8656 (Vienna, 1926).Google Scholar

⁴⁰ See Czech Opera (n. 1), 292.Google Scholar

⁴¹ Czech Opera, 292.Google Scholar

⁴² Turn of the Century Masters (see n. 1), 42.Google Scholar

⁴³ Turn of the Century Masters, 46.Google Scholar

⁴⁴ John Tyrrell, disc notes to the Decca recording of The Makropulos Affair, conducted by Mackerras, Charles, 430372–2, p. 11.Google Scholar

⁴⁵ Tyrrell, , notes to Makropulos (see n. 44), 20–2.Google Scholar

⁴⁶ Tyrrell, , notes, 23.Google Scholar

⁴⁷ Tyrrell, , notes, 23.Google Scholar

⁴⁸ Williams, Bernard, ‘The Makropulos Case: Reflections on the Tedium of Immortality’, in Problems of the Self (Cambridge, 1973), 82–100 (p. 100).CrossRefGoogle Scholar

⁴⁹ In particular, see the following: Abbate, Carolyn, ‘Wagner, “On Modulation” and Tristan’, this journal, 1 (1989), 33–58Google Scholar; Dahlhaus, Carl, ‘What is a Musical Drama’, this journal, 1 (1989), 95–111Google Scholar; and Abbate, Carolyn, ‘Opera as Symphony, A Wagnerian Myth’, in Abbate, Carolyn and Parker, Roger, eds., Analyzing Opera: Verdi and Wagner (Berkeley, 1989), 92–124.Google Scholar