Show Summary Details

Page of
PRINTED FROM Oxford Music Online. © Oxford University Press, 2019. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single article in Oxford Music Online for personal use (for details see Privacy Policy).

Janáček, Leoš [Leo Eugen]free

  • John Tyrrell

(b Hukvaldy, Moravia, 3 July 1854; d Moravská Ostrava, 12 Aug 1928). Czech composer. His reputation outside Czechoslovakia, and German-speaking countries, was first made as an instrumental composer, with a small number of chamber and orchestral pieces written alongside the operas, which he considered his main work. The balance has now been largely redressed and he is regarded not only as a Czech composer ranked with Smetana and Dvořák, but also as one of the most substantial, original, and immediately appealing opera composers of the 20th century.

1. Early life and studies (1854–80).

Janáček was born into the Czech cantor tradition. Both his grandfather (Jiří, 1778–1848) and his father (Jiří, 1815–66) were teachers, musicians, and leading cultural figures in the poor communities they served. In 1838 Janáček’s father married Amálie Grulichová and in 1848 he moved with her and their five children to a full teacher’s post in the village of Hukvaldy in eastern Moravia. Leoš was the fourth of the eight children born there and to relieve the crowded home he was sent, when he was 11, to be a chorister at the Augustinian ‘Queen’s’ Monastery in Old Brno. Brno played a vital role in Janáček’s development; in particular the choirmaster of the monastery, Moravia’s leading composer, Pavel Křížkovský, took a keen interest in his musical education.

Janáček was to follow his family’s teaching tradition and by September 1869, after completing his basic schooling, including three years at the German Realschule in Old Brno, he went on a state scholarship to the Men’s Teachers’ Institute in Brno (k.k. Lehrer-Bildungsanstalt). Two years later the institute was divided linguistically with Janáček attending the C.k. Slovanský ústav ku vzdělání učitelů (The Imperial and Royal Slavonic Men’s Teacher Training Institute) in his third year. He passed his final examinations (excelling in geography, singing, and organ) in July 1872 and served the compulsory two-year period of unpaid teaching at a school run by the institute. In 1872 he also took over the monastery choir when Křížkovský was transferred to Olomouc Cathedral. Janáček’s hard, thorough work enabled him to perform a wide variety of music at the services – Palestrina, Lassus, Haydn, and contemporary Czech and German works – and led to his appointment (1873) as choirmaster of a working-men’s choral society, ‘Svatopluk’ (founded 1868). Janáček raised the level of the society from its Liedertafel traditions, moving the concerts out of the taverns into the new Besední dům, and widened the repertory. It was for ‘Svatopluk’ that he wrote his first choruses (jw IV/1–8), mostly simple four-part settings of folk texts in the style of Křížkovský.

In the autumn of 1874, after completing his period of unpaid teaching, Janáček obtained leave to study with Skuherský at the Prague Organ School for a year, during which he completed the first two years of the three-year course. Extremely poor, with no money even for a piano, he was unable to take full advantage of the musical life of Prague. Several student exercises, mainly church and organ works (jw II/1–6; VIII/1–4), date from this period. Returning to Brno in 1875 he resumed all his previous activities: teaching and conducting the monastery choir and ‘Svatopluk’, from which, however, he resigned in October 1876, eight months after becoming conductor (1876–88) of the Czech middle-class Brno Beseda choral society (founded 1860). After a few months he turned the male-voice Beseda choir into a mixed body, and, with help from the monastery choir and pupils from the institute, he mustered a force of 250 singers for two large-scale choral works, Mozart’s Requiem (1878) and Beethoven’s Missa solemnis (1879). He also championed Dvořák, introducing to Brno audiences his Moravian Duets and Serenade for Strings, the latter a model for Janáček’s own works for string orchestra, the Suite jw VI/2 (1877) and the Idylla jw VI/3 (1878). He came to know Dvořák personally (the two men went on a walking tour of Bohemia in the summer of 1883) and later Dvořák became the mentor whom Janáček consulted on important early pieces such as the collections of male-voice choruses jw IV/17 and jw IV/19 and his first opera, Šárka.

Janáček had returned to the Prague Organ School (June–July 1877) for a month of special study in which he worked through binary and ternary forms (jw VIII/5). Two years later, on a year’s paid leave from the Teachers’ Institute, he enrolled at the Leipzig Conservatory (October 1879–February 1880). There his teachers included Oscar Paul (whose history lectures he also attended at the university) and Leo Grill. As in Prague, poverty prevented his taking full advantage of his new surroundings: he attended the Gewandhaus concerts, but never went to the opera. Most of Janáček’s Leipzig compositions are lost but his frequent letters to Zdenka Schulzová chronicled his life in this period almost to the hour, and from them we know exactly what Janáček wrote. Although initially attracted to Paul, rather than to Grill, who had shown little interest in his first, overambitious offering, a piano sonata (jw X/5), Janáček soon settled down to a course of extremely hard study under the strict and systematic Grill. With him he progressed, via 14 two- and three-part fugues jw X/6 (all were thought lost but three unexpectedly turned up in 2008) and seven romances for violin and piano jw X/8, to a set of piano variations jw VIII/6 and a series of rondos jw X/14. From surviving pieces, e.g. one of the romances (jw VII/3) and the Mendelssohnian piano variations, it is clear that Janáček had acquired smoother and more imaginative technique than in his earlier instrumental works. Although he mentioned in his letters a plan of continuing his studies with Saint-Saëns in Paris, he enrolled, after the Easter vacation, at the Vienna Conservatory (April–June 1880), where he studied with Franz Krenn. His pieces at Vienna were more ambitious: a four-movement violin sonata jw X/16, entered for the Vienna Conservatory competition, nine songs of a song cycle Frühlingslieder jw X/17, entered for the Vincenz Zusner competition, and three movements from a string quartet jw X/18. Janáček failed to win either competition; none of these pieces survives.

2. The Organ School, folk music, the early operas (1881–1904).

Before leaving for Leipzig Janáček had already become engaged to his piano pupil Zdenka Schulzová (1865–1938), the daughter of the director of the Teachers’ Institute, Emilian Schulz. By the time he returned to Brno Janáček had been recognized by the education ministry as a ‘full teacher of music’ (May 1880) at the Teachers’ Institute, and he and Zdenka were married on 13 July 1881, shortly before Zdenka’s 16th birthday. In addition to all his earlier activities Janáček began to realize his ambition of founding an organ school in Brno. A committee was established under the auspices of the Jednota pro zvelebení církevní hudby na Moravě (Society for the Promotion of Church Music in Moravia) and on 7 December 1881 Janáček was appointed director; teaching began in August 1882, at first in the Teachers’ Institute until separate premises were acquired (1886). From 1886 to 1902 he also taught music at the Old Brno Gymnasium II. At the Beseda he added to the repertory some of Dvořák’s major choral works as well as works by Brahms, Smetana, Tchaikovsky, Saint-Saëns, and Liszt; he established singing and violin classes (1882) and later piano and cello classes (1887). When the Provisional Czech Theatre opened in Brno in 1884 he founded a journal to review its activities. This was Hudební listy, published by the Beseda, with Janáček as editor and chief contributor. The journal lasted until June 1888 by which time Janáček’s relationship with the Beseda had become increasingly difficult and he resigned. His married life, too, was no easier. The tensions between a fervently patriotic Czech and a very young girl from a staid German middle-class background proved unbearable and the couple separated from the autumn of 1882 (soon after the birth of their daughter Olga) until the summer of 1884. A son, Vladimír, was born in 1888 but died of meningitis in 1890.

After his return from Vienna Janáček virtually stopped composing, partly through lack of time, partly because his studies in Vienna had ended disappointingly, and partly because he was unsure where his talents lay. During this period he wrote only a few choruses, notably the Mužské sbory (‘Male-Voice Choruses’) jw IV/17 and the mixed-voice Kačena divoká (‘The Wild Duck’) jw IV/18. The latter was written for a collection of school songs (1885), requested by his friend Berthold Žalud; the former was dedicated to Dvořák, who was startled by the boldness of the modulations.

In 1887, three years after the opening of the Brno Czech theatre, Janáček began to compose his first opera, Šárka (jw I/1), to a verse libretto by the well-known Czech poet Julius Zeyer. Zeyer had intended the work for Dvořák (who toyed with it) and consequently refused the unknown and inexperienced Janáček permission to use his text. By then Janáček had already written and revised the work; it remained unperformed until 1925. After Janáček’s resignation from the Brno Beseda, and disappointed by the fate of his first opera, Janáček immersed himself in the study of Moravian folk music, much of the study in collaboration with the philologist and folklorist František Bartoš (1837–1906). The two men had known each other from Czech cultural activities in Brno but Janáček’s post (from 1886) at the Czech Gymnasium II in Old Brno, where Bartoš had taught since 1869, brought them together as colleagues and led to their collaboration on two important editions of Moravian folksongs: a collection of 174 songs (jw XIII/1, published 1890) and the massive definitive collection of 2057 songs and dances (jw XIII/3, published 1899–1901).

In addition to the folksong editions he brought out with Bartoš, Janáček popularized his discoveries in a series of orchestral dances and dance suites such as the Valašské tance (‘Valachian Dances’) jw VI/4 and the Suite for orchestra jw VI/6. That Janáček thought he had found his true direction is signalled by the opus numbers, op.2 and op.3, which he added to these two works, the only ones to be so honoured (the putative ‘op.1’ is thought to be the early piano variations jw VIII/6). Folkdances similarly formed the basis for two stage works: the folk ballet Rákoš Rákoczy jw I/2, hurriedly put together for the 1891 Jubilee Exhibition in Prague, and the one-act opera Počátek románu (‘The Beginning of a Romance’) jw I/3, which consists of little more than folkdances with added voice parts. The libretto was adapted from a short story by Gabriela Preissová, who wrote the play Její pastorkyňa (‘Her Stepdaughter’). When Janáček realized the far greater possibilities of this play as the basis for an opera, also in a Moravian rural setting, he became dissatisfied with his unassuming but favourably received earlier work and withdrew it after four performances (1894).

Janáček worked on Jenůfa (as the opera has become known abroad) for two or three years, during which period he wrote the prelude, Žárlivost (‘Jealousy’), and Act 1. But then he stopped. His life was immensely busy at the time, since he was teaching at several institutions including the Teachers’ Institute (to 1902), the Old Brno Gymnasium II (to 1896), and the Organ School, of which he remained director. In addition to his folksong editions with Bartoš, there were preparations for the Prague Ethnographic Exhibition in 1895 (Janáček was responsible, with Lucie Bakešová, for the Moravian contribution). Janáček’s busy life, however, may not account fully for his stopping work on Jenůfa. The rather different idiom of the later two acts suggests that he may have found his technique inadequate to the demands of the libretto and he spent about five years rethinking his approach to composition and to opera in particular. This theory is supported by his writings of the period, which in analyses, introductions, and music reviews examine a wide range of compositions by other composers (the process begins with his enthusiastic review (jw XV/149) of Tchaikovsky’s The Queen of Spades). An important catalyst was the gradual formulation of his ideas on ‘speech melody’, his habit of jotting down in musical notation scraps of overheard speech, often with notes on the circumstances, and making inferences about the emotional state of the speaker, a process which began in the summer of 1897. Some indication of the new direction is given by the cantata Amarus jw III/6, written directly after Janáček’s trip to Russia (summer 1896), and the earliest work which suggests the style of the mature composer. Its deep personal resonance (the subject matter reflected in Janáček’s lonely life at the monastery) may have been a factor; it is significant that the keyboard miniatures (Po zarostlém chodníčku, ‘On the Overgrown Path’, jw VIII/17) that he began writing in 1900, shortly before he resumed work on Jenůfa, are also autobiographical.

Towards the end of 1901 there are indications that he had resumed work on Jenůfa. A few months later his daughter Olga, who was now almost 21 and wanted to become a Russian-language teacher, left for Russia to stay with Janáček’s younger brother František, who had settled in St Petersburg. Within a month she caught typhoid fever and although she recovered enough to return to Moravia by the summer, her constitution, already undermined in childhood by chronic rheumatic heart disease, was fatally weakened. Her long illness cast a shadow over the composition of the rest of the opera: Janáček played it to her on 22 February 1903; she died four days later.

Jenůfa was a very different work from its predecessor. The success of its première in Brno (21 January 1904) was however probably due more to its Moravian setting than to the provincial audience’s awareness of its stature. The performances suffered from a tiny and inadequate orchestra and Janáček, moreover, made substantial alterations before the work was published (1908). He had submitted both The Beginning of a Romance and Jenůfa to the Prague National Opera before settling for Brno premières. Karel Kovařovic, chief conductor at Prague, eventually went to see Jenůfa at Brno but still declined to take it up; possibly he remembered Janáček’s scathing criticism (jw XV/70) of his own opera The Bridegrooms many years earlier (1887).

3. From Jenůfa in Brno (1904) to 1917.

In 1904, the year of the première of Jenůfa, Janáček reached the age of 50 and resigned from his post at the Teachers’ Institute. He concentrated on composition and on running the Organ School, which with a bigger grant acquired a new building in 1908 to accommodate 70 students. Janáček remained director until 1919, refusing an offer in 1904 of the directorship of the Warsaw Conservatory.

Janáček submitted his next opera, Osud (‘Fate’) jw I/5 (1903–7) to the Brno Theatre, but was soon persuaded to withdraw it and offer it instead to the newly opened theatre in the Prague Vinohrady district. Although it was accepted there, production was continually postponed and despite Janáček’s threatened lawsuits it was never performed during his lifetime. Its exploration of unusual subject matter (it was semi-autobiographical) and a widening of the musical language mark an advance on Jenůfa, but its clumsy libretto by Janáček and a 20-year-old schoolteacher has stood in its way. Libretto problems also dogged his next opera, Výlet pana Broučka do měsíce (‘The Excursion of Mr Brouček to the Moon’) jw I/6. Janáček began it in 1908 and after working to little effect with a long succession of ‘librettists’, he made virtually his own libretto from Svatopluk Čech’s satirical novel, composing many versions until he temporarily abandoned it in 1913.

Most of his other compositions during this period were choruses and small instrumental works. For piano he added more pieces to On the Overgrown Path. Together with another suite V mlhách (‘In the Mists’) jw VIII/22 and the ‘sonata’, 1.X. 1904 jw VIII/19 these constitute almost all Janáček’s major solo piano music. The latter work had been first performed in 1906 at the Klub přátel umění v Brně (Club of the Friends of Art in Brno), founded in 1900 and whose music section Janáček inaugurated in 1905. The club provided the opportunity for performing small-scale works, for instance the Piano Trio jw X/22, based on Tolstoy’s novella The Kreutzer Sonata, written for and performed at a Tolstoy evening at the club in 1909. In the Mists was Janáček’s entry for a competition sponsored by the club and was published by it towards the end of 1913. The club also published the vocal score of Jenůfa (in 1908) and the ‘ballad for orchestra’ Šumařovo dítě (‘The Fiddler’s Child’) jw VI/14 (in 1914).

Dominating this period are the three great male-voice choruses, Kantor Halfar (‘Halfar the Schoolmaster’) jw IV/33 (1906), Maryčka Magdónova jw IV/34–5 (1906–7), and 70.000 jw IV/36 (1909). These were the culmination of the line of choruses that Janáček had written continuously from his first compositions for ‘Svatopluk’. Their texts, drawn from Petr Bezruč’s Slezské písně (‘Silesian Songs’), had a deep social and patriotic appeal for Janáček and perhaps this fact, together with their physical setting near his native Hukvaldy, explains the strong response they elicited from him.

By his 60th birthday, shortly before the outbreak of World War I, Janáček was respected in Brno as a composer, an active folklorist, and a leading figure in Brno musical life, both in the societies and organizations he took a leading part in and especially as the director of the chief music teaching institution in Moravia. Outside Moravia he would have been known, if at all, by fewer than 30 printed compositions, mostly connected with his folk and teaching activities, and a handful of smaller choruses, keyboard pieces, and liturgical works. Very few of these had been performed outside Brno. Of his larger works his folk ballet Rákoš Rákoczy had been staged in Prague in 1891; his orchestral prelude Žárlivost (‘Jealousy’) jw VI/10, now detached from Jenůfa, was performed in Prague in November 1906 (conducted by František Neumann); his tableau vivant Otče náš (‘Our Father’) jw IV/29 was given a concert performance in Prague a few days later. The cantata Na Soláni čarták (‘The Čarták on Soláň’) jw III/7, requested for the 50th anniversary of the male choir ‘Orlice’ in Prostějov, was duly given its première there in 1912, and performed by the choral society ‘Žerotín’ in Olomouc in 1913. The most promising of these larger ventures was a well-regarded performance of Amarus under Ferdinand Vach with the Czech PO in October 1912, after which the chief conductor of the Czech PO, Vilém Zemánek, asked Janáček to write a new piece for the orchestra. Accordingly Janáček composed The Fiddler’s Child, but its first performance, scheduled for March 1914 under Janáček, was aborted during rehearsals and the piece was not given until 1917.

Janáček’s best hope of fame at the time would have appeared to be his choruses. The Smetana Choral Society in Plzeň had come across the print of Janáček’s 1885 male-voice choruses jw IV/17 and performed the third chorus, ‘Ach vojna, vojna’ (‘Ah, the War’), in Plzeň with such success in March 1905 that in the summer it was taken on tour to Spa, Belgium – the first public presentation of any Janáček work outside the Czech lands. The Plzeň Smetana Society went on to perform the remaining choruses from the group and Janáček showed his gratitude by sending it manuscripts of the first two Bezruč choruses (jw IV/33 and 35). At about the same time Janáček had chanced to hear the Moravian Teachers’ Choral Society and had sent the conductor Ferdinand Vach two choruses (nos.1 and 3) from his still unpublished set jw IV/28. Vach’s choir gave the first performance the same year with such success that the choruses became standard repertory pieces, toured in Prague, Vienna, Munich, and Paris as well as many locations in Moravia. Even more remarkable was the choir’s espousal of the much more ambitious second setting of Maryčka Magdónova (jw IV/35), which it performed many times in 1908, and later toured as far as Russia.

By now Janáček was at least more prosperous: in 1910 he and his wife moved into a house specially built for them on the grounds of the Organ School’s final location in Kounicova ulice; and in 1912, instead of the usual holidays in Hukvaldy the couple ventured abroad to the Adriatic coast of present-day Croatia. A plan for a return visit two years later was abandoned because of the outbreak of World War I.

For Janáček, however, the most significant event of the period was the acceptance late in 1915 by the Prague National Theatre of his opera Jenůfa, after the persistent intervention of his friends Dr František Veselý and his wife, the singer and writer Marie Calma-Veselá, and Kovařovic’s librettist Karel Šípek. Karel Kovařovic’s resistance had been overcome only with great difficulty and with the condition that he revise the opera. Thus on 26 May 1916 Janáček’s opera was performed in Prague, carefully prepared in a cut and reorchestrated version by Kovařovic with a fine cast including Gabriela Horvátová as the Kostelnička. It was an instant and sustained success. Universal Edition published Kovařovic’s version in piano-vocal score and full score and energetically promoted productions in Vienna, Berlin, and other German cities. The Prague German writer Max Brod, who had reviewed the opera enthusiastically, made the German translation. Brod became Janáček’s champion, the translator of most of his later operas, and the author of the first book about him.

This single event transformed Janáček’s fortunes and above all his confidence in himself. He had abandoned Brouček in 1913. Now he took it up again and, with a fresh set of librettists, notably Viktor Dyk and F.S. Procházka, he revised the existing opera, adding a final ‘epilogue’ act. Shortly after, he approached Procházka about a sequel, a second excursion to the 15th-century Hussite wars. This was completed remarkably quickly, by the end of 1917. In January 1918 Janáček discarded the added ‘epilogue’ act of the first excursion and so the two excursions found their final form as a ‘bilogy’ now entitled Výlety páně Broučkovy (‘The Excursions of Mr Brouček’) jw I/7, published by Universal Edition in 1919 and staged the following year at the Prague National Theatre.

There were also other consequences of Janáček’s new fame. His married life, never easy, had lost much of its meaning at the death of the Janáčeks’ surviving child Olga, and although he and Zdenka had eventually achieved a stable and reasonably contented companionship, it was easily upset by Janáček’s interest in other women. By far the most serious of his affairs was that with Gabriela Horvátová. She had been keenly supportive of Janáček at the time of the Prague Jenůfa and Janáček was swept off his feet by this assertive woman. He attended most of the repeat performances in Prague of Jenůfa in order to see her and took a holiday with her in Luhačovice in 1917. Their passionate relationship is documented by an incomplete correspondence and by a devastating account in Zdenka Janáčková’s memoirs. By the time the affair had cooled (in 1918), Zdenka had attempted to commit suicide and the couple had gone through a form of divorce, supervised by their two lawyers but not the courts, whereby Janáček continued to support Zdenka and she continued to look after him.

4. The last years (1917–28).

In the years between the Brno and the Prague premières of Jenůfa Janáček was not composing at full capacity. His chief interest was opera and there was little chance of his operas being performed outside Brno and thus little incentive for further works. Jenůfa’s success in Prague and abroad changed this. The amazing creative upsurge in a man well into his 60s can also be partly explained by his patriotic pride in the newly acquired independence of Czechoslovakia shortly after the end of the war in 1918. The event had been anticipated in Brouček’s second excursion, where Janáček’s intention was not so much satiric (as in the first excursion) but patriotic – an appeal to a more heroic past – and it was to the first president of the Czechoslovak Republic, T.G. Masaryk, that the score was dedicated. Similar intentions are signalled by dedications of two orchestral pieces: Balada blanická (‘The Ballad of Blaník’) jw VI/16, written in autumn 1919 and also dedicated to Masaryk, and Taras Bulba jw VI/15, begun in 1915, completed in 1918, and dedicated to the Czech armed forces.

A final reason for Janáček’s remarkable late flowering was his friendship with Kamila Stösslová, the wife of an antiques dealer, David Stössel. Janáček had met the couple on holiday in Luhačovice in the summer of 1917 and fell in love with Kamila, then almost 27 (Janáček was 62) and strikingly beautiful. Zdenka Janáčková at first welcomed Janáček’s new friend, finding the good-natured if unsophisticated Kamila a useful ally against Horvátová, while David Stössel, then in the army, helped the Janáčeks with provisions during the war. Since the Stössels were then living in Přerov, in Moravia, visits between the two couples happened quite frequently and Zdenka and Kamila corresponded even more regularly than Janáček did with Kamila. In this way the relationship continued for ten years, with letters becoming the only contact between 1919, when the Stössels moved to Písek, in Bohemia, and 1924, when Janáček made his first visit to Písek. The ups and downs of the relationship are documented in over 700 letters from Janáček to Kamila (fewer of hers survive) and taken as a whole they provide a rich source for Janáček’s personal world in the final years of his life. Until April 1927 Kamila successfully kept Janáček at arm’s length and the much-damaged relationship between Janáček and his wife improved.

The creative gains were immediately apparent. He began his song cycle Zápisník zmizelého (‘The Diary of One who Disappeared’) jw V/12 within days of returning from his meeting with Kamila in July 1917; the subject matter of a young farmer deserting his home and parents to live with a Gypsy woman had resonances in Janáček’s attraction to the dark-haired and dark-skinned Kamila. Further fantasies may have been fuelled by his next new opera, Káťa Kabanová jw I/8 (1920–21), in which the heroine is drawn away from her constricted family life by the arrival of a handsome stranger. In his letters to her Janáček stressed his identification of Kamila with both the Gypsy (in the Diary) and Káťa, as he did with the heroines of his next two operas, Příhody lišky Bystroušky (‘The Cunning Little Vixen’) jw I/9 (1922–3) and Věc Makropulos (‘The Makropulos Affair’) jw I/10 (1923–5).

In between he found time to compose incidental but by no means insubstantial works. The First String Quartet jw VII/8, written at the request of the Czech Quartet, was completed in less than a month in 1923. The same year he began a four-movement symphonic work Dunaj (‘The Danube’) jw IX/7; he wrote the wind sextet Mládí (‘Youth’) jw VII/10 in the summer of 1924 and the Concertino for piano and chamber ensemble jw VII/11 early the next year.

By the time he had passed his 70th birthday Janáček’s change in fortune was remarkable. He had retired from the Brno Organ School (which in 1919, joined by the Beseda music school, had become the Brno Conservatory) and instead gave composition masterclasses (in Brno) for the Prague Conservatory (1920–25). Though Brouček had only grudgingly been produced in Prague in 1920 (the only Janáček operatic première outside Brno), all his new operas were taken up immediately by Brno, followed by Prague (Káťa Kabanová: Brno 1921, Prague 1922; The Cunning Little Vixen: Brno 1924, Prague 1925; The Makropulos Affair: Brno 1926, Prague 1928). Even the early Šárka had been remembered and was performed in Brno in 1925. Universal Edition published each new opera as it came out; in 1924 Jenůfa received important premières at Berlin (under Kleiber) and at the Metropolitan, New York. The Cunning Little Vixen had been presented as part of the ISCM Festival in Prague in the spring of 1925; in September the chamber section of the festival took place in Venice and Janáček went there to hear his First Quartet given a very warm reception. One of the honours that marked his 70th birthday was the first honorary doctorate from the Masaryk University in Brno (28 January 1925), a distinction he never ceased to cherish, signing correspondence and all his compositions ‘Dr. Ph. Leoš Janáček’.

With Makropulos out of the way Janáček took a year off from opera. In the spring of 1926 he wrote his largest purely orchestral work, the five-movement Sinfonietta jw VI/18, which was given a triumphant first performance by Václav Talich and the Czech PO in June that year. Shortly after completing the work he went to England for a week at the invitation of a committee organized by Rosa Newmarch, with whom he corresponded and who had enthusiastically taken up his cause. His visit coincided with the General Strike, but a concert, which included most of his chamber works to date, took place as planned, at the Wigmore Hall (6 May). In the second half of the year he wrote other substantial works: the Mša glagolskaja (‘Glagolitic Mass’) jw III/9; a miniature piano concerto (the Capriccio for piano left hand and chamber ensemble jw VII/12 commissioned by the pianist Otakar Hollmann, who had lost his right hand in World War I); and extended the eight movements of his Říkadla [1] (‘Nursery Rhymes’) written in 1925 (jw V/16) to 18 (Říkadla [2] jw V/17).

His fame continued to grow. While Jenůfa was performed in dozens of German opera houses, Káťa Kabanová began to penetrate into Germany with performances in Cologne (1922, under Klemperer) and Berlin (1926). His native Hukvaldy unveiled a plaque in July 1926, and on 10 February 1927 he was elected, together with Schoenberg and Hindemith, a member of the Prussian Academy of Arts. The Sinfonietta began to be widely known; Klemperer conducted performances in 1927 in Wiesbaden, New York, and Berlin. The Glagolitic Mass, which received its première in Brno in December 1927, was performed in Prague in 1928. Meanwhile Janáček began work on his last opera, Z mrtvého domu (‘From the House of the Dead’) jw I/11, and Janáček’s friendship with Kamila Stösslová moved on to a more intense level. At Easter 1927, having drafted Act 1 of From the House of the Dead, Janáček went at Zdenka’s suggestion (she wanted him out of the house during redecorating) to spend a few days with the Stössels in Písek. During two walks Kamila and Janáček reached a new understanding and Janáček thereafter addressed her with the intimate form ‘Ty’ (she continued to use the more formal address ‘Vy’) and signed his letters ‘Leoš’ instead of his full name and title. It seemed that no physical intimacies took place (Janáček triumphantly celebrated their first kiss only the next summer). Nevertheless something had happened: Kamila now evidently accepted his love and he wrote ever more frequent letters to her (in which he fantasized about marrying her and about her bearing his child) and found excuses for frequently visiting her, to the increasing disquiet of his wife. The new state of their relationship was celebrated in a strangely revelatory feuilleton, ‘Smráká se’ [Dusk is falling] XV/303 and in his String Quartet no.2 Listy důvěrné (‘Intimate Letters’) jw VII/13 which, as he graphically put it, had been written in fire, unlike earlier works ‘written only in hot ash’ (letter to Stösslová, 18–19 May 1928). The quartet was composed in a few weeks (29 January–19 February 1928) as a break from From the House of the Dead, which he was finding increasingly oppressive, though by the time of his regular summer holiday in Luhačovice on 1 July 1928 the opera had been completed in autograph and copied out by his two trusted copyists, and Janáček had checked through the first two acts.

In 1921 Janáček had bought a cottage in Hukvaldy, to which in 1924 and 1925 he added land from the adjacent forest. Like Luhačovice, which he visited most summers from 1903, this became a favourite holiday place, but while the visits to the fashionable Moravian spa of Luhačovice had a social dimension, Janáček retreated to Hukvaldy to do the concentrated creative work that his increasingly public life in Brno made difficult. That he had been born there made the Hukvaldy ties especially strong. In July 1928, after three weeks in Luhačovice, he went to Hukvaldy and was joined for the first time there by Kamila, her 11-year-old son Otto, and, for the first few days, her husband. Janáček took with him the sketches of The Danube, Schluck und Jau jw IX/11 (incidental music for a production of Gerhart Hauptmann’s play, which he had reluctantly taken on at the urging of Max Brod), and the fair copy of Act 3 of From the House of the Dead. During one of their expeditions Janáček caught a chill, which rapidly developed into pneumonia. On 10 August he was taken to the nearest large town, Moravská Ostrava, where he died at 10 a.m. on Sunday 12 August. His funeral, held in Brno on 15 August, was a large public event at which the final scene of The Cunning Little Vixen was played. Shortly after his death his Second String Quartet was given publicly (Janáček had been present at private performances); in April 1930 From the House of the Dead received its première in a much-revised version prepared by Janáček’s pupils Břetislav Bakala and Osvald Chlubna. Zdenka Janáčková died ten years after her husband, in 1938; Kamila Stösslová died in 1935.

5. Sources of inspiration.

Janáček is sometimes categorized as a nationalist composer. Nationalism certainly formed an important part of his outlook, especially from about 1888 for five years when all his creative endeavours centred on Moravian folk music. While Bohemian and western Moravian music looks west, sharing the regularities of instrumentally-based German and Austrian folk-music traditions, eastern Moravian folk music (Janáček’s focus of interest) shares the melodically and rhythmically richer irregularities of word-based Slovak, Hungarian, and Romanian folk musics. In this sense Janáček drew on sources that brought him closer to his contemporary Bartók than to his Bohemian predecessors Dvořák and Smetana. He collected Moravian folk music, edited it, arranged it, and used it as the basis for his own music. Many of his early choruses were based on Moravian folksong texts; his ballet Rákoš Rákoczy and his second, third, and fourth operas all had Moravian settings; a couple of his works had ‘Moravian’ in their genre descriptions (Jenůfa) or even in their titles (Our Father was originally entitled Moravian Our Father); and two of his most successful choruses (from jw IV/28) are in Moravian dialect. The big gain for Janáček was the enrichment of his personal style and his emancipation from the mainstream straitjacket. Although it was a creative phase that he soon transcended, a number of elements can be found in Janáček’s works which suggest a folk origin. Apart from modal colouring (especially Lydian), Janáček’s predilection for ‘interruption motifs’ (see §6) could be viewed as a procedure based on the Moravian folk ensembles in which the ‘hudec’ (e.g. lead violin) can be almost derailed by the trills, decorations, and offbeat syncopations of the ‘kontráš’ part (second violin). Janáček also learnt much from his attempts at providing idiomatic accompaniments for folksongs by imitating folk instruments such as the bagpipes or the cimbalom. Whereas his earliest folksong accompaniments, e.g. for Královničky (‘The Little Queens’) jw IV/20, are purely functional – sturdy block chords that provide a sustained accompaniment in the same rhythm as the tune – later accompaniments, e.g. for some of the Kytice z národních písní (‘A Bouquet of Moravian Folksongs’) jw V/2, are much more varied and interesting. No.44, for instance, incorporates the virtuosic flourishes of the cimbalom; its little bursts of sound from the piano part offer witty commentaries and alternatives rather than continuous, unchallenging support to the voice part and point the way to a different balance of voice part and accompaniment.

Janáček’s home province of Moravia is Czech-speaking; to define Janáček as a Moravian composer (rather than a Czech one) would be to turn a Moravian awareness into a Moravian separatism that was never part of his political agenda. Janáček always regarded the Bohemian capital Prague as his capital city, which he loved to visit. Two of his nine operas (Brouček and Makropulos) and several choruses, e.g. those to words by F.S. Procházka (jw IV/40–41, 44), were set in Prague. He would have been uncomfortable with the later separation of the Czech lands from Slovakia since Moravia shared not only a border with Slovakia, but many elements of musical folk culture; Janáček felt at home in the Slovak capital of Bratislava and took several holidays in the mountains of Slovakia. Altogether he was proud of the new Czechoslovak Republic and happy to define himself as a ‘Czechoslovak composer’.

Like any Czech of the period he had received much of his education in German (including a year at the conservatories of Leipzig and Vienna) and, in later life, dealt very ably in German in his professional dealings. But a defining element from an early age was his anti-German, and anti-Austrian, stance. This is understandable in a patriot eager for liberation from the Austrian Habsburg control of the Czech lands, but Janáček took an uncompromising line. He made his young bride (from a German–Czech mixed marriage) speak only Czech with him (having written his love letters to her in German), refused to speak German to her German-speaking relatives, and discouraged her contacts with her family. In his public life covert anti-Germanism was evident in his enthusiastic support for Czech-language institutions such as the Czech Readers’ Circle, the Brno Beseda, and the Brno Organ School, and in his Russophilism. Russia, with its well-established musical and literary traditions, was by far the largest independent Slavonic nation at the time and it offered both example and potential protection to Czechs of the period (who preferred to ignore its high-handed treatment of its Polish-speaking subjects). Janáček’s active Russophilism began in 1896, when he visited Russia to see his brother František. He wrote up his impressions in a series of three extensive newspaper articles (jw XV/150) and two years later he founded the Russian Circle in Brno, which actively promoted a knowledge of Russian language, literature, and music. He was delighted when his daughter Olga decided to become a Russian language teacher and encouraged her fateful trip to Russia in 1902. Russian literature inspired two early, incomplete operas (both based on Tolstoy texts, jw IX/4 and 6) and several chamber works: Pohádka (‘Fairy Tale’) jw VII/5 for cello and piano, with a programme based on Vasily Zhukovsky, and the Piano Trio and First String Quartet, both based on Tolstoy’s tale of marital infidelity, The Kreutzer Sonata. The Russian advances at the beginning of World War I encouraged Janáček to hope that the Russians might liberate his country from the Austrians, and inspired two compositions, the Violin Sonata jw VII/7 and Taras Bulba jw VI/15, the second based on Gogol’s grisly and chauvinist tale of Cossack military life (see jw XV/247).

By 1915, however, the Austrian authorities had closed down the Russian Circle and although it was reconstituted after the war, it fizzled out, partly because the anti-Austrian stance which fuelled it had softened in the liberated country. Furthermore Janáček’s pro-Russian sympathies did not extend to the Bolshevik government that had taken over. But his love of Russia and its culture remained. Two of his later operas, Káťa Kabanová and his last major work From the House of the Dead, are based on Russian literature, the latter composed straight from the Russian original, with Janáček translating into Czech as he went along.

Vocal music predominates in Janáček’s output, particularly choruses (mostly for unaccompanied male voices) and operas. From Šárka to the end of his life there was scarcely any time in which he was not writing, revising, or at least planning an opera. Writing choruses served as a preparation and as a substitute for operas, and as soon as his opera writing began in earnest after Jenůfa’s acceptance in Prague his interest in choruses waned. Apart from a surprising flourish of female-voice choruses (jw IV/39–41) and the patriotic Česká legie (‘The Czech Legion’) jw IV/42 the only male-voice chorus after 1916 was Potulný šílenec (‘The Wandering Madman’) jw IV/43 (1922) with words by Rabindranath Tagore, whose visit to Prague in 1921 had made a great impression on Janáček. It is significant that the most vital and important choruses, the Bezruč group, were written in a period of particular frustration with his operatic career. Janáček set these choruses in a more obviously dramatic manner than he had used previously, with indirect speech turned into direct speech and solo voices to suggest individual characters, a technique that he may have learnt from some of Křížkovský’s choruses and which he extended memorably in two later works. In The Wandering Madman he added a solo soprano to the male-voice chorus to sing the questions of the young boy, while in The Diary of One who Disappeared he turned a song cycle for solo tenor into a chamber cantata by including an offstage chorus of three solo female voices and a mezzo-soprano to represent the Gypsy.

Programmatic aspects inform the chamber and solo instrumental works that he began writing after 1900 (his first since his student works), mostly for local performances at venues such as the Friends of Art Club, but, like the two operas of this period (Fate and Brouček), most of these were problematic and were subjected to continual revision. He destroyed the final movement of his piano ‘sonata’ jw VIII/19 (and attempted to destroy the two remaining movements), his Piano Trio was evidently destroyed (though possibly recycled in his String Quartet no.1 bearing the same subtitle), and Fairy Tale and the Violin Sonata were both extensively remodelled for subsequent publication. Similarly when Janáček succeeded as an operatic composer in his final decade, the few chamber works of the period (Youth, Concertino, Capriccio, and two string quartets) were all written quickly and confidently.

Apart from a burst of orchestral arrangements of folkdances in the early 1890s as part of his efforts to promote Moravian folk music, Janáček turned to large-scale orchestral compositions only in his 60s. All were tone poems of some sort (Janáček seems to have been unable to finish the Danube symphony because of his lack of clarity about a piece overloaded with programmatic elements). Even the Sinfonietta is programmatic. His original title ‘Military Sinfonietta’ bears witness to the inspiration of the opening movement in a military band (the Czechoslovak Infantry Regiment no. 11, conducted by František Palacký) he had heard in Písek on 27 June 1924; its remaining movements, according to a programme that Janáček described (in jw XV/298), were connected with his feelings about his adopted city Brno.

Almost all Janáček’s mature works had a programmatic origin, although purely musical considerations predominated once the piece was begun. Often the programmatic beginnings may seem no more than a curiosity, as in the Concertino and the Sinfonietta: the first a set of animal scenes, the second, glimpses of Janáček’s Brno, and in neither case is the programme essential for understanding these works. Janáček’s strongest creative impulse, however, was erotic. Both his string quartets had powerful erotic origins. It is possible to see the succession of his operatic heroines as a commentary on his attitude to Kamila Stösslová: from wishful thinking in Káťa and The Vixen (the neglected wife who takes a lover; the vixen as fulfilled wife and mother) to sober reality in Makropulos (the fascinating but unmoved Emilia Marty, ‘cold as ice’). In his last opera he turned his back on female stage characters, though he identified Kamila with Akulina (the tragically murdered wife in Šiškov’s tale) and even with the Tartar boy Aljeja.

Before the advent of Kamila Stösslová, Janáček’s operas were less successful, the main exception being Jenůfa, in which, however, he seemed to have put much of his own relationship with his daughter Olga into the central Jenůfa–Kostelnička relationship. The two operas directly after Jenůfa were built around men, the satirical antihero Mr Brouček and in Fate the composer Živný, a portrait of himself.

Conventional religion meant little to him. As his wife recorded, he never went to church, never prayed, and paid no attention to his children’s religious upbringing. The liturgical pieces of his student days are some of his dullest and least individual and, as in his explanation of the programme of the Glagolitic Mass (see letter to Stösslová, 24–5 December 1926), the urges for this work are partly pan-Slavonic, partly pantheistic, and partly erotic (a nuptial mass for himself and Kamila). Some notion of his own attitudes is evident in his choice of opera plots, concerned with death but also with renewal and forgiveness. What could superficially be taken as ‘tragic’ plots are skewed both by Janáček’s libretto changes and by his comforting music. With a few deft additions, including the death of its main protagonist, Janáček turned Těsnohlídek’s lighthearted tale of a vixen and a forester into a profound tragicomic fable which comprehends and comes to terms with death. The death of Emilia Marty (another addition) became one of Janáček’s most magnificent finales, his music investing Čapek’s conversation piece with monumentality and a consoling warmth.

Something of this optimism, coupled with the grit and determination that made Janáček persevere until he won recognition in his 60s, is evident in the subtitle of the Capriccio ‘Vzdor’ (‘Defiance’), and in the nature of the piece, a chamber concerto for piano left hand, perilously poised against a bizarre and ungainly ensemble of brass and flute/piccolo. Old age and fame, however, helped Janáček unbend and relax; these years saw the affectionate wind suite Youth and the cheerful Nursery Rhymes.

6. Musical style.

Although Janáček was born before the last wave of Romantic composers – Mahler, Wolf, and Strauss – his most characteristic music was written at the end of his life, in the 1920s, and belongs in sound and spirit with the music of the younger generation around him. This is not to deny that his musical language was grounded in the 19th century. Janáček’s musical language is essentially tonal, though coloured by modal inflections, and in places surprisingly dissonant. But even in the harshest works, such as the final two operas, there are sudden and intense lyrical flowerings: this tension between extremes is one of the sources of Janáček’s creative energy. Despite some modal tendencies from Moravian folk music and the whole-tone inflected passages which began to appear in his music after his interest in French music around 1900, his harmony operates functionally, and the dissonance which had grown from the characteristic major 9th formations in Jenůfa and Fate into the increasingly harsh combinations in From the House of the Dead reinforces rather than negates the tonal framework. Janáček’s treatment of tonality was generally instinctive; the tonal plan of a piece is often more the result of his gravitating towards his favourite keys (D♭/C♯, A♭) than of long-range planning. In the mature works a piece seldom ends in the key in which it began. Although key signatures linger on in the instrumental works up to the First String Quartet (in his operas Janáček abandoned them as early as Brouček), their use becomes increasingly haphazard. Some of the later examples – in the Diary or Taras Bulba – are for very short passages in works basically without key signatures where the music has slipped into A♭ and, as if to show he was on home ground, Janáček signalled the fact with a temporary key signature of four flats.

Janáček’s music often operates by contrasting types of harmony. In opera this procedure is particularly useful for characterization; for example, Káťa’s music stands out against the Kabanicha’s harsher, more dissonant idiom (ex.1). The lushness of Káťa’s music, typical of Janáček’s poignant ‘dolce’ manner, is not so much one of rife chromaticism (though chromatic alteration has a part in it) but an intensity built up through added chords and appoggiatura formations (creating a type of melody that often seems to overshoot its mark) and by the gentle tension of 6-4 chords. Other harmonic contrasts with a diatonic norm that Janáček employed are whole-tone inflected harmony, octatonic harmony, and harmony built up from 4ths, a procedure that gives rise to many of his typical melodic patterns made up of 4ths, 5ths, and 2nds (ex.2). The use of harmonically contrasting blocks to build up a musical structure is found equally in his non-operatic music, as with the ‘normal’ version (ex.3a) of the Adagio tune in the Second String Quartet, third movement, compared with the more dissonant and constricted version that follows it (ex.3b) and with the jubilant, wide-spaced major version (ex.3c).

Ex.1 Káťa Kabanová Act I

View large

Ex.2 String Quartet no.1, 1st movt

View large

Ex.3 String Quartet no.2, 3rd movt

View large

Another type of contrast that Janáček’s music exploits is one of conflicting elements, as for instance in the last movement of the Violin Sonata, where a tiny repetitive fragment on the violin interrupts the would-be broad-arched tune of the piano. Sometimes such ‘interruption motifs’ are repeated to form a disruptive ostinato, as in the overture to Makropulos, where a high degree of tension is generated by the precarious balance of melodic foreground and disruptive background (ex.4). The tension of these rapid ostinato figures is increased by their generally jagged outlines with awkward jumps. Janáček’s mature music progresses mostly by repetition and juxtaposition; accordingly much of its formal organization consists of piling up repetitive blocks (as in the Sinfonietta) and in a variety of rondo forms. The few sonata forms he employed depend on melodic contrast rather than on tonal tension. He had little sympathy with another feature of Austro-German tradition, counterpoint, and after his student works what little counterpoint there is seems to be the result of a montage of added or staggered parts, for instance in the complex textures of the late choruses.

Ex.4 The Makropulos Affair, Prelude

View large

Janáček’s handling of voice parts is idiosyncratic. Most characteristic are his mercilessly high tenor parts, both for soloists and chorus. His preference for high solo voices is clear from the Glagolitic Mass, where the soprano and tenor have most of the important solos, while the contralto makes her first appearance as late as the ‘Svet’ (Sanctus). It is typical that in Jenůfa the four main solo parts are given to two tenors and two sopranos. Janáček used lower female voices less to depict older women than to suggest provocative eroticism (Zefka in the Diary, Varvara in Káťa, the prostitute in From the House of the Dead) or for travesty roles (in From the House of the Dead and The Vixen). It is in the latter opera, with the complications of its animal world, that he specified children’s voices.

In his non-operatic vocal music, the impact of Janáček’s speech-melody theories is less evident than in his operas (see §7). The Diary of One who Disappeared, for instance, despite its embryonic dramatization in the added singer for the Gypsy and instructions for lighting, preserves the metrical and rhyme schemes of its poems to such an extent that the voice parts sound more structured and conventionally melodic than those of his operas from the same period. In Nursery Rhymes Janáček made a feature of the obvious sing-song folk verse, sometimes employing it to achieve a deliberately non-realistic vocal style with two or three voices to each part. The Glagolitic Mass is similarly distanced from realistic word-setting by the use of an archaic text. It is not then surprising that Janáček’s choral-instrumental music often resorts to instruments at crucial moments. Most of the Nursery Rhymes, with their slender accompaniment of seven wind instruments (including an ocarina), drums, and piano, have an instrumental rather than a vocal climax; the five-movement palindrome of Amarus includes largely orchestral outer movements; at the heart of the ‘Věruju’ (Creed) in the Glagolitic Mass there is a long orchestral commentary on the Incarnation and Crucifixion; the central 13th piece of the Diary, in which the young man loses his virginity, is a piano solo.

Janáček’s orchestration, one of the most distinctive aspects of his style, took time to evolve. His earliest attempts, as in the Lachian Dances, are unexceptional, overfull with no evidence of a particularly acute ear. Janáček wrote his first two operas in piano score and then orchestrated (the scoring of the third act of Šárka was even undertaken by a pupil) but he wrote his third opera, Jenůfa, straight into full score, a procedure that bespeaks both a greater confidence and the greater importance of the orchestral sound in the initial inspiration. By the time of Káťa he had evolved his characteristic sound: although capable of great sweetness, there is a roughness caused by the unblended layers of orchestra and by the seemingly unidiomatic writing in individual parts (awkward figurations, especially in rapid ostinatos; use of extreme registers). In time he increasingly abandoned the middle ground for the extremes; the first sketches for From the House of the Dead reveal how often he thought instinctively in terms of three low trombones and three high piccolos.

Janáček’s orchestration, like most aspects of his music, often has a programmatic origin, for example many of the uses of unusual instruments (the xylophone in Jenůfa and Makropulos, the sleigh bells in Káťa). Dostoyevsky’s From the House of the Dead provided a wealth of ‘natural’ sounds (chains rattling, anvil blows, saws and work tools) which found their way into the final score; several characters are associated with individual instruments, a procedure that goes back to his symphonic poem, The Fiddler’s Child, where such associations were set out in the introductory article he wrote about the work (jw XV/206). Despite the rich array of percussive instruments, Janáček’s last opera shares with some of the late instrumental music a frequently spare texture. One reason for this is that with this opera he drew his own staves (and only when needed), a habit that he had adopted many years earlier in his non-operatic works. Although his instrumental writing remained taxing, he became accurate and economical with instrumental effects. The bizarre combinations in the Capriccio and the Sinfonietta are well calculated, and the colouristic devices in the Second String Quartet (e.g. the extensive use of sul ponticello) are all vividly effective in performance.

7. Operatic style and conventions.

A distinctive feature of Janáček’s post-Jenůfa operas is his willingness and ability to explore territory not normally cultivated by opera composers. Káťa Kabanová, Ostrovsky’s tale of adultery on the banks of the Volga, played safe, possibly after the difficulties of Fate and Brouček, but all the others are extraordinary subjects for opera. ‘Soon he’ll even be setting the local column in the newspaper’, Karel Čapek is said to have declared when he heard that Janáček wished to set his play The Makropulos Affair, much of which is taken up with the exposition of a complicated legal case. But that was one of the more conventional. The local Brno newspaper, Lidové noviny, did in fact provide the basis for Janáček’s previous opera, about the adventures of a clever vixen. Dostoyevsky’s prison memoir, lightly disguised as reportage, was the subject of Janáček’s final opera.

Janáček was his own librettist for all the play-based operas (Jenůfa, Káťa, and Makropulos; Šárka was intended as an opera libretto from the outset) and made serviceable librettos chiefly by ruthlessly condensing the originals. But for The Beginning of a Romance (based on a short story), Fate (Janáček’s own scenario), and partly in Brouček (two satirical novels), he employed librettists, though taking a steadily increasing part himself. His frustration in failing to find a satisfactory partner for The Excursion of Mr Brouček to the Moon resulted in his writing his own librettos for The Vixen and From the House of the Dead.

Janáček began writing operas in the familiar moulds of Czech nationalist opera. Šárka, a serious opera based on Czech mythic history, continues the story of Smetana’s Libusě (1881). The Beginning of a Romance, a comic one-act village opera, Janáček himself likened to Blodek’s In the Well (1867). The serious village opera that Janáček attempted in Jenůfa is sometimes regarded as a new departure but even here there were Czech models at hand, most obviously by J.B. Foerster (e.g. his Debora, composed 1890–91, performed 1893). Foerster’s Eva (composed 1895–7, performed 1899), furthermore, was based on a play by Gabriela Preissová. What set apart Janáček’s Jenůfa and Foerster’s Eva, begun almost simultaneously, were three factors. First, though both composers attempted to evoke a Moravian atmosphere, Janáček, with his Moravian roots, his extensive fieldwork, and his absorption of the patterns of Moravian folksong at a deep level, was able to present folk music not as a colourful exoticism but as part of his distinctive style. Second, while Foerster turned Preissová’s prose play into verse before he began work, Janáček left Her Stepdaughter in prose, and thus wrote the first Czech prose opera. This is not to deny that much of Act 1 of Jenůfa in particular falls into regular musical periods, with the text somewhat adapted and lines repeated to generate the equivalent of regular verse lines. The third factor is that Janáček began to cast adrift from obvious set numbers (his model, at least in Act 1, had been Mascagni’s one-act opera Cavalleria rusticana, which despite its veristic credentials is essentially a number opera). There are remains of a number opera in Jenůfa, ranging from short simultaneous duets and a trio, to song-based folk scenes and a full-scale slow concertato ensemble for four soloists and chorus. Ensembles persist into Fate and Brouček, but by Káťa and Makropulos there are few passages where solo voices combine for more than a bar or two. Janáček thus became more dependent on the monologue and most of his librettos from Jenůfa onwards provide many such confessional or narrative opportunities. Their frequency in From the House of the Dead is one reason why he was so attracted to this seemingly unoperatic material.

During the writing of Jenůfa Janáček began to formulate the ideas about ‘speech melody’ which were to influence his approach to the voice line and indeed his whole musical idiom for the rest of his life. He frequently stressed how important such work was to an opera composer. Speech melodies were in no sense potential thematic material for Janáček but, rather, study material to help him produce sung stylizations of the irregular patterns of everyday speech. The result was a gradual move away from regular metrical structure in the voice parts of his operas to a more varied and irregular approach using a greater variety of rhythms. Characteristically, the voice parts begin after the beat and end before it, the notes increasingly bunched over the phrase climax. The process is graphically demonstrated by the revisions that Janáček made in 1918 to the 1888 voice parts of his first opera, Šárka (ex.5).

Ex.5 Šárka, Act 2

View large

In Jenůfa Janáček absorbed elements of Moravian folksong and his notion of speech melody. The next two operas, Fate and The Excursions of Mr Brouček, show a further development in their reactions to fashionable European composers such as Gustave Charpentier and Puccini. Janáček much admired Louise, and learnt from it the appeal of its urban settings and characters (and the urban waltzes that go with them) as well as the usefulness of diegetic solo songs, usually given to minor characters, that can be found in all Janáček’s operas from Fate onwards. In Act 1 of Fate Janáček also imitated Charpentier’s large individualized chorus. Much longer-lasting, however, was Janáček’s use of an offstage symbolic chorus: the ‘voice of the Volga’ in Káťa Kabanová, the ‘voice of the forest’ in The Cunning Little Vixen, or the mysterious male-voice chorus that repeats Marty’s words at the end of The Makropulos Affair. All this can be traced back to the ‘call of Paris’ (an offstage chorus) that finally lures Louise away from her home. Puccini’s influence can be detected in Brouček and Káťa Kabanová. Later, Janáček seems to have picked up something of Debussy (in The Vixen).

The uncertainty suggested by the extensive revisions that Janáček made to Jenůfa, Fate, and The Excursions of Mr Brouček contrasts strikingly with the confidence he showed in the last four operas, by which time he had consolidated an individual style and a set of operatic conventions. From Káťa Kabanová onwards Janáček had found his own way of writing an opera. There was first a long immersion in the subject matter with heavy annotations in the literary source he used. He then set about composing a complete version of the opera, straight into full score, very fast. This was his way of coming to grips with the material, sensing its climaxes and dramatic life. After a break, Janáček would begin all over again, abandoning the plethora of orchestral themes that can be found in the preliminary version and producing instead a version based only on a few themes, constantly and ingeniously varied.

In the play-based operas such as Jenůfa, Káťa Kabanová, and The Makropulos Affair, Janáček could rely on a ready-made dramatic structure, though he occasionally overrode the act climaxes (Káťa Kabanová). But in the novel-based operas, Brouček and in particular The Vixen and From the House of the Dead, he was able to make tiny scenes cohere by embedding them into the orchestral continuum, a process facilitated by the increasing structural importance of the orchestra. In Jenůfa he denied making any use of leitmotif, but from Brouček onwards he made effective if occasional use of a few reminiscence themes. Instead his approach was to build up sections – often a whole scene – on a single motif subjected to ostinato and variation techniques which transformed the original motif to the point of non-recognition. The second half of Act 2 of The Vixen is bonded by the structural arch of the offstage chorus; the first half consists of a set of variations on the theme of the opening prelude.

Janáček’s melodic style was sometimes dismissed by early commentators as ‘short-breathed’. Concision in all aspects is now seen to be one of his chief virtues: most of the operas are over in two hours. The dramaturgy of the later ones is engagingly direct, achieving striking effects by means of stark juxtapositions. In From the House of the Dead, Luka’s tale of his horrific beating is followed by the return of Petrovič after similar treatment by the prison guards. The torment and release of the eagle is juxtaposed with the torturing and release of Petrovič. From the House of the Dead, his slackest libretto in terms of events, is fuelled by music of an intense driving force, startling even for Janáček. The means of his art often seem trivial when analysed, the dramaturgy occasionally clumsy or even amateurish, but such factors pale into insignificance in the light of the immense dramatic instincts that Janáček brought to life in his operas.

8. Writings.

Janáček’s achievements as a composer have overshadowed his work in other fields, yet until his 60s he was as important to the musical life of Moravia as a theorist, teacher, and folk music authority. His Organ School formed the basis for the Brno Conservatory and trained the next generation of music teachers and administrators in the area. His work on folksong stimulated interest and laid the foundations for a more scholarly and systematic approach. His activities in these fields are documented by the surprising quantity of writings he left. The earliest, an article on his old teacher Pavel Křížkovský (jw XV/1), dates from 1875, two years after his earliest compositions. His career as a writer, however, began in earnest eight years later when he founded the musical periodical Hudební listy and served as its editor and chief contributor. The periodical came out in the autumn-to-spring months of each year, at first (1884–5) weekly, then (1885–7) fortnightly, and in its final year (1887–8) monthly. In it Janáček reviewed the operas and operettas performed at the newly established Provisional Theatre in Brno. Many of his reviews are short and reveal less about his attitude to the works concerned than about their inadequate performances, but in a few cases – Gounod’s Faust (jw XV/63) or Rozkošný’s St John’s Rapids (jw XV/73) – Janáček wrote more detailed introductions, and from time to time offered general observations on the state of opera in Brno and recommendations for its improvement.

His earliest theoretical writings were also published in Hudební listy. There were more substantial pieces on topics such as chordal connections, the two-note chord and the triad, and the concept of tonality, serialized over several numbers. Many of the ideas expressed were later developed in Janáček’s two books on music theory: O skladbě souzvukův a jejich spojův (‘On the composition of chords and their connections’) jw XV/151 and Nauka o harmonii (‘Harmony manual’) jw XV/202. Janáček’s theoretical writings are much less known than his music and, despite his reputation as a composer and his impressive equipment as a theorist, have had little impact on Czech theoretical thought. His harmony manual was limited to use at the Brno Organ School apart from two years when his pupil Osvald Chlubna tried to use it at the Brno Conservatory. Janáček’s attempt to give it wider currency failed when Universal Edition declined to publish it in a German translation. Part of the reason for its neglect is that it stands outside the traditions of most harmony manuals. Its intellectual roots can be found in Janáček’s wide-ranging readings in aesthetic and experimental psychology (notably Helmholtz and W.M. Wundt) with which he sought to justify some of his theoretical principles. At the time, his conclusions, for instance the free connections of any one chord to another, were considered daring. But today its philosophical basis – which traces its way back through the Czech aestheticians Josef Durdík and Robert Zimmermann to the now forgotten Herbart – seems outmoded. Another obstacle has been that it is difficult to understand because Janáček expressed himself poetically or abstractly more often than concretely, and because he employed a home-made and confusing terminology. Janáček was at his most distinctive in his approach to harmony and rhythm. In harmony the succession of sounds and the momentary confusion in the ear when one chord followed another interested him most. The overlapping combination of sounds and the montage of layers in his own compositions may be seen as practical reflections of this theoretical observation. Rhythmically he saw a piece as a hierarchy of layers, each with a distinctive rhythmic personality. Janáček also published articles in Hudební listy on the organization of music education in schools and on the teaching of singing, the subject of a further manual, his Návod pro vyučování zpěvu (‘Singing-teaching manual’) jw XV/162. This short work concentrates on pitch and rhythm differentiation, progressing through 100 short exercises to longer two-part pieces with piano accompaniment.

Whereas Janáček’s activities as a critic were fitful, confined to three brief periods mostly in three journals – Moravská orlice (1875–7), his own Hudební listy (1884–8), and Moravské listy (1890–92) – he wrote regularly on folk music for over 40 years, from a review in 1886 of a folksong collection by Ludvík Kuba (jw XV/65) to the last article he published, just a few months before he died (jw XV/310). His most substantial and systematic work came in the introductions he wrote to the folksong collections published with Bartoš and his posthumous collection Moravské písně milostné (‘Moravian love songs’), JW XIII/5.

In 1893 Janáček wrote his first article (jw XV/143) for the new Brno daily paper, Lidové noviny. For the next 27 years his contributions were sporadic – there was a ten-year gap after 1896 – but from 1921 he was a regular contributor, publishing 40 articles in the eight years up to his death. Janáček’s feuilletons are short, conceived for a large, popular readership, and deal with every topic that interested him. Some are autobiographical, painting vivid scenes from childhood cut through with reflections from old age; others are pictures of Janáček’s environment, both town and country, and tales from his travels; and there are some amusing and nicely observed descriptions of birds. Many pieces such as his brief account of a lecture on Dante (mostly notations of the few words that Janáček could make out from the Italian), or his touching encounter with Smetana’s elderly daughter, fallen on hard times, are whimsical evocations of tiny scenes brought to life by the inclusion of snatches of notated speech, in effect springboards for his demonstrations of speech melodies, the most constant theme of his occasional writings. Janáček’s feuilletons have much the same spirit as his music. His prose comes in short, abrupt phrases, often too compressed and overloaded to reveal its meaning immediately, but with unmistakable energy and force.

9. Posthumous reputation and scholarship.

Although the conductor František Neumann, who had presided over many Janáček premières in Brno, died soon after Janáček, Břetislav Bakala, Neumann’s assistant and Janáček’s pupil, was able to keep alive a Brno performance tradition, duly passed on to conductors such as Milan Sachs and František Jílek. Janáček’s scholarly heritage meanwhile was fostered by Vladimír Helfert, professor of musicology at the Masaryk University in Brno. The university was a major beneficiary of both Janáček’s and Zdenka Janáčková’s wills, and by the outbreak of World War II Helfert had assembled for the university a splendid collection of Janáček’s manuscripts and letters (later passed to the Moravian Regional Museum), and had published the first volume of a projected four-volume biography. Activities, halted by the war and by Helfert’s death, resumed a decade later with the publication of eight volumes of Janáček’s correspondence, his collected writings on folk music (1955), and his theoretical writings (1968–74). Fuller versions of these, together with his ‘literary’ works, appeared as six volumes of the Complete Critical Edition. A complete online publication of Janáček’s extensive correspondence is in progress.

In 1978 a collected edition, controversial in its notation policy, was launched and has made available most of Janáček’s music apart from the operas (whose copyright was held by Universal Edition), though from 2002 publication has been split between Bärenreiter (which had taken it over from Supraphon) and Editio Janáček in Brno. In Vienna Universal Edition published authentic versions of Jenůfa (hitherto available only in Kovařovic’s revision and reorchestration) and From the House of the Dead (previously issued in a Romanticized reorchestration) in a project, now almost complete, of issuing in full score, study score, and piano-vocal score, critical editions of the seven operas it represents.

Much of the research undertaken by Helfert pupils such as Bohumír Štědroň and Theodora Straková was usefully synthesized in Jaroslav Vogel’s biography (1958), which in several editions and languages became the standard Janáček biography. A new generation of Czech Janáček scholars has followed, among them Svatava Přibáňová (who made available editions of Janáček’s letters to Kamila Stösslová and to his family), Miloš Štědroň (prominent in his reconstructions of Janáček’s incomplete works), Jiří Zahrádka (responsible for many of the new editions and document-based prefaces), and, in the burgeoning field of Janáček ethnographic studies, Jarmila Procházková. Scholarly activities ceased to be the prerogative of Czech scholars with the founding of the Swiss Leoš Janáček-Gesellschaft by Jakob Knaus and others (1969), with a major Janáček conference in St Louis, USA organized by Michael Beckerman (1988) and with a new generation of non-Czech scholars devoting university dissertations to Janáček and producing a comprehensive catalogue and a two-volume biography in English, both the most detailed in any language.

For the first two or three decades after Janáček’s death, performances of his music were mainly given by Czech performers. Although most mature Janáček operas had been performed in Germany, none apart from Jenůfa had become repertory works; it was not until 1956 that the legendary Felsenstein production of The Cunning Little Vixen aroused much interest abroad. Janáček’s operas were first performed in Britain in 1951, but until the 1964 Edinburgh Festival (which featured Janáček) they were confined to London, and to a small band of enthusiasts headed by the Sadler’s Wells company and Charles Mackerras. The late 1970s saw the beginnings of the Welsh National/Scottish Opera cycle, which took Janáček’s main operas to all the major centres in Britain, and the series of recordings under Charles Mackerras that helped establish Janáček’s operas internationally in a way that the Czech recordings of the 1950s and 60s had failed to do. By the end of the 20th century Janáček had become one of the most performed 20th-century opera composers, particularly in Britain and Germany, and increasingly in the USA, Italy, and France.

Works

Edition

Leoš Janáček: Souborné kritické vydání, ed. J. Vysloužil and others (Prague, 1978) [SKV]

Catalogue

N. Simeone, J. Tyrrell, and A. Němcová: Janáček’s Works: a Catalogue of the Music and Writings of Leoš Janáček (Oxford, 1997) [JW]

printed works published in Prague, unless otherwise stated

spurious works not listed

Stage works

unless otherwise stated, first performed at Brno, National Theatre

View large

JW

Title, Genre

Acts, Text

Date

First performance

Remarks, Publication

I/1

Šárka, opera

3, after J. Zeyer

by Aug 1887; rev. 1888, 1918–10 Jan 1919, 1925

11 Nov 1925 (1888–1925 version)

26 Nov 2010 (1887 version)

Act 3 orchd O. Chlubna; fs ed. J. Zahrádka (Vienna and Brno, 2002) [hire only], vs, ed. Zahrádka (Vienna and Brno, 2002)

X/20

Valašské tance [Valachian Dances; Dances from Valašsko], idyllic scene, lost

1, V. Kosmák

by May 1889

libretto extant; most music absorbed into I/2

I/2

Rákoš Rákoczy, folk ballet

1, J. Herben, after V. Hálek: Děvče z Tater [The Girl from the Tatras]

?Jan–5 June 1891

Prague, National Theatre, 24 July 1891

incl. folk choruses, songs, and dances; fs, ed. L. Matějka (1957) [hire only], vs (1978) [hire only]

I/3

Počátek románu [The Beginning of a Romance], romantic opera

1, J. Tichý [F. Rypáček], after G. Preissová’s story

15 May–2 July 1891, orchd by Dec 1891, rev. ?Feb–March 1892

10 Feb 1894

sections later destroyed by Janáček, reconstructed by B. Bakala; ed. E. Holis (Prague and Kassel, 1978) [hire only]

I/4

Její pastorkyňa [Her Stepdaughter; Jenůfa], opera

3, Janáček, after Preissová’s play

Act 1 ?31 Dec 1894–?1896, Acts 2–3 ?Dec 1901–?8 March 1903; rev. Oct 1903, by 10 Jan 1907, by mid-Feb 1908, c. Nov 1915

21 Jan 1904

vs (Brno, 1908), fs [‘Brno version’ (1908)], ed. C. Mackerras and J. Tyrrell (Vienna, 1996); vs rev. K. Kovařovic (Vienna, 1917), rev. and reorchd Kovařovic (Vienna, 1918)

I/5

Osud [Fate], scenes from a novel

3, F. Bartošová and Janáček

?8 Dec 1903–?12 June 1905; rev. by 26 July 1906, by 19 Nov 1907

excerpts, Brno Radio, 18 Sept 1934; complete, Brno, National Theatre, 25 Oct 1958 [‘flashback version’]

vs [‘flashback version’] (1964), fs and vs, ed. V. Nosek (1978) [hire only]; SKV A/5

I/6

Výlet pana Broučka do měsíce [The Excursion of Mr Brouček to the Moon], burlesque opera

2 and Epilogue, Janáček, with addns mostly by F. Gellner, V. Dyk, and F.S. Procházka, after S. Čech’s novel

Acts 1–2, 27 March 1908–12 Feb 1913, rev. 21 July–5 Nov 1916; Epilogue, 25 Oct 1916–29 March 1917

for Acts 1–2 see I/7; Epilogue, Prague Radio, 22 Sept 1936; I/6 with Epilogue: Brno, 19 Nov 2010

for Acts 1–2 see I/7; Epilogue and ‘Čech Ending’ unpubd

I/7

Výlety páně Broučkovy [The Excursions of Mr Brouček], opera, 2 parts: 1 Výlet pana Broučka do měsíce; 2 Výlet pana Broučka do XV. století [The Excursion of Mr Brouček to the 15th Century], opera

part 1 as I/6 without Epilogue and ‘Čech Ending’, part 2 Procházka, after Čech’s novel

part 1 as I/6, part 2 5 May–12 Dec 1917; rev. Jan 1918, April–May 1920, 23 Aug 1920

Prague, National Theatre, 23 April 1920

vs, ed. R. Veselý (Vienna, 1919), fs (Vienna, c. 1920) [hire only]; fs ed. J Zahrádka (Vienna, forthcoming; vs ed. Zahrádka (Vienna, forthcoming)

I/8

Káťa Kabanová, opera

3, Janáček, after A.N. Ostrovsky: Groza [The Thunderstorm], trans. V. Červinka

?9 Jan 1920–17 April 1921, rev. Dec 1921; interludes by 9 Nov 1927

23 Nov 1921

vs, ed. B. Bakala (Vienna, 1922), fs (Vienna, 1922); fs, ed. C. Mackerras (Vienna, 1992) [incl. interludes], vs, ed. Mackerras (Vienna, 1993) [incl. interludes]

I/9

Příhody lišky Bystroušky [The Adventures of Vixen Bystrouška (The Cunning Little Vixen)], opera

3, Janáček, after R. Těsnohlídek’s novel

22 Jan 1922–10 Oct 1923; rev. by 31 Oct 1924

6 Nov 1924

vs, ed. Bakala (Vienna, 1924), rev. version (Vienna, 1925); fs (Vienna, 1924) [hire only]; fs, ed. J. Zahrádka (Vienna, 2009), fs, ed. Zahrádka (Vienna, 2009)

I/10

Věc Makropulos [The Makropulos Affair], opera

3, Janáček, after K. Čapek’s play

11 Nov 1923–3 Dec 1925

18 Dec 1926

vs, ed. L. Kundera (Vienna, 1926); fs, ed. Mackerras (Vienna, 1970) [hire only]; fs, ed. J. Zahrádka (Vienna, 2016), vs ed. Zahrádka (Vienna, 2016)

I/11

Z mrtvého domu [From the House of the Dead], opera

3, Janáček, after F.M. Dostoyevsky’s novel

18 Feb 1927–20 June 1928

12 April 1930 [version by O. Chlubna and Bakala]

ov. = rev. version of Vn Conc. IX/10; rev. and reorchd Chlubna and Bakala, vs and fs (Vienna, 1930); with orig. ending as appx (Vienna, 1964); orig. version, ed. J. Tyrrell, fs (Vienna, 2018), vs ed. Tyrrell (Vienna, 2018)

IX/11

Schluck und Jau, incidental music, unfinished

G. Hauptmann

?31 May–5 June 1928

Prague, Dům umělců, 13 Sept 1979

fs drafts of 2 movts and part of 3; 2 movts rev. J. Burghauser (Prague and Vienna, 1978); SKV A/11

View large

Projected operas, with musical sketches:

JW

IX/3

Paní mincmistrová [The Mintmaster’s Wife] (1, after L. Stroupežnický’s play), Dec 1906–early 1907; SKV A/11

IX/4

Anna Karenina (3, after L.N. Tolstoy’s novel), 5–29 Jan 1907; SKV A/11

IX/6

Živá mrtvola [The Living Corpse] (after Tolstoy’s play), Sept 1916; SKV A/11

Other projected stage works (operas unless otherwise stated), with only scenario, or annotated play or novel extant

JW

XI/1

Poslední Abencerage (3, after F.-C. Chateaubriand: Les aventures du dernier des Abencérages), late 1884–Jan 1885

XI/2

Pod Radhoštěm [At the Foot of Radhošť] (ballet, after V. Hálek: Děvče z Tater [The Girl from the Tatras]), 1888–9

XI/6

Andělská sonáta [Angelic Sonata] (4, after J. Merhaut’s novel), June 1903

XI/8

Gazdina roba [The Farm Mistress] (after Preissová’s play), April 1904, ?Aug 1907

Liturgical

motets unless otherwise stated

jw

X/1

Mass, 1872–5, lost

II/1

Graduale (Speciosus forma), SATB, 1874; SKV J/1

II/2

Introitus in festo SS Nominis Jesu, SATB, org, ?Jan 1875; SKV J/1

II/3

Exaudi Deus [1], SATB, org, 1875; SKV J/1

II/4

Exaudi Deus [2], SATB, 1875; rev. version in Cecilia, vol.4 (1877), suppl. no.3, p.8; SKV J/1

II/5

Benedictus, S, A, T, B, SATB, org, 1875; SKV J/1

II/6

Communio (Fidelis servus), SATB, 1875; SKV J/1

II/7

Regnum mundi, SATB, ?1875–8; SKV J/1

II/8

Exsurge Domine, SATB, ?1875–9; SKV J/1

II/9

Graduale in festo purificationis BVM (Suscepimus), SATB, ?1875–9, rev. 1887, ed. J. Trojan (Prague and Mainz, 1971); SKV J/1

X/10

Sanctus, 21–24 Nov 1879, lost

II/10

Deset českých církevních zpěvů z Lehnerova mešního kancionálu [10 Czech Hymns from the Lehner Hymnbook for the Mass], org with text incipits, 1881 (Brno, ?1882), rev. as České církevní zpěvy z Lehnerova mešního kancionálu (Brno, 1889) [incl. 3 addl hymns]

II/11

Svatý Václave [St Wenceslas], org, ?1902 [acc. to St Václav hymn, II/10 no.7]; SKV J/1

II/12

Constitues, TTBB, org, ?1903, ed. J. Trojan (Prague and Mainz, 1971); rev. by 15 July 1903, unpubd; SKV J/1

II/13

Veni sancte spiritus, TTBB, ?by Nov 1903, ed. J. Trojan (1978)

II/14

Zdrávas Maria [Hail Mary], T, SATB, vn, org, 1904, arr. S/T, vn, pf/org, 1904; ed. B. Bakala (Vienna, 1978)

IX/5

Mass, E♭, S, A, T, 4 B, SAATTBB, org, spr. 1908 [Ky, Ag, Cr completed by V. Petrželka, pts (1946), fs (1972); Cr, San completed by P. Wingfield, by 1995]; SKV J/1

Choral-orchestral

JW

III/1

Naše píseň [1] [Our Song] (S. Čech), SATB, orch, 1–12 June 1890, rev. as Sivý sokol zaletěl [A Grey Falcon Flew Away] (trad.), after 12 June 1890 – ?after 7 July 1890 [also used in I/3 no.17; see also IV/21]

III/2

Komáři se ženili [The Mosquitoes got Married] (trad.), SATB, orch/pf, 1891, pubd as part of I/2

III/3

Zelené sem seła [I have Sown Green] (trad.), SATTB, orch, 1892; rev. SATB, reduced orch, 1897, chorus pts (Brno, n.d.) [orig. title Ej, danaj!, see VIII/12; re-used in I/4]

III/4

Keď zme šli na hody [As we went to the feast] (trad.), SATB, orch, 1893 [re-used in VI/9]

III/5

Hospodine! [Lord, Have Mercy!] (anon, 10th–11th-century Cz.), S, A, T, B, SSATB, SSATB, 3 tpt, 4 trbn, tuba, hp, org, 1896, ed. J. Trojan (Kassel, 1977); rev. S, A, T, B, SSATB, 2 tpt, 4 trbn, tuba, hp, org, ?1896, unpubd

III/6

Amarus (cant., J. Vrchlický), S, T, Bar, SATBB, orch, 1896–7, rev. 1901, 1906, vs, ed. O. Nebuška (1938), fs, ed. (1957); SKV B/1

III/3

Na Soláni čarták [The Čarták on Soláň] (cant., M. Kurt [M. Kunert]), T, TTBB, orch, 1911, rev. 1920, ed. (1958); SKV B/3 [incl. 1911 version]

III/8

Věčné evangelium [The Eternal Gospel] (cant., Vrchlický), S, T, SSATTBB, orch, ?1913–14, ed. (1958); SKV B/4

III/9

Mša glagolskaja [Glagolitic Mass] (Old Church Slavonic, arr. M. Weingart), S, A, T, B, SSAATTBB, orch, org, 1926–7, vs, ed. L. Kundera (Vienna, 1928), fs (Vienna, 1929); ed. P. Wingfield (Vienna, 1994); SKV B/5–1 [final version] and SKV B/5–2 [‘Sept 1927’ version]

Other choral

unless otherwise stated settings for TTBB of traditional Moravian texts

JW

X/2

Ženich vnucený [The Enforced Bridegroom], perf. 27 April 1873, lost [possibly = Srbská lidová píseň [Serbian Folksong], see JW, 298]

IV/1

Orání [Ploughing], 1873, pubd in Čtyři lidové mužské sbory (1923); SKV C/1

IV/2

Válečná [1] [War Song] (anon.), ?by 24 June 1873

IV/3

Válečná [2]: K svěcení praporu [War Song: for Dedicating the Banner] (anon.), TTBBB, tpt, t trbn, 2 b trbn, 1873

IV/4

Nestálost lásky [The Fickleness of Love], TTTBBB, 1873, ed. J. Trojan (Vienna and Prague, 1978); SKV C/1

IV/5

Divím se milému [I Wonder at my Beloved], 1873–6, ed. in Ohlas národních písní (Prague and Brno, 1937); SKV C/1

IV/6

Vínek stonulý [The Drowned Wreath], 1873–6, ed. in Ohlas národních písní (Prague and Brno, 1937); SKV C/1

IV/7

Osámělá bez těchy [1] [Alone without Comfort] (Slovak trad.), 1874, ed. J. Trojan (Vienna and Prague, 1978); SKV C/1 [rev. c. 1898, see IV/26]

IV/8

Láska opravdivá [True Love], 1876, ed. in Ohlas národních písní (Prague and Brno, 1937); SKV C/1

IV/9

Osudu neujdeš [You Cannot Escape Your Fate], ?by Jan 1876, ed. J. Trojan (Vienna and Prague, 1978); SKV C/1

IV/10

Zpěvná duma [Vocal Elegy] (F. Čelakovský), 1876, ed. (Brno, 1934); SKV C/1

IV/11

Na košatej jedli dva holubi seďá [Two Pigeons are Perching on the Bushy Fir Tree], ?1876, ed. V. Telec (Brno, 1957); SKV C/1

IV/12

Slavnostní sbor (k položení základního kamene Ústavu ku vzdělání učitelů) [Festive Chorus (for Laying the Foundation Stone of the Teachers’ Institute)] (K. Kučera), T, T, B, B, TTBB, SA, 1877, ed. J. Trojan (Prague and Kassel, 1972); SKV C/4

IV/13

Slavnostní sbor ku svěcení nové budovy C.k. Slovanského ústavu ku vzdělání učitelů v Brně [Festive Chorus for the Consecration of the New Building of the Imperial and Royal Slavonic Teachers’ Institute in Brno] (? Kučera), Bar, TTBB, pf, 1878, part pubd in S. Přibáňová (I1987)

IV/14

Píseň v jeseni [Autumn Song] (J. Vrchlický), SAATTBB, 1880, ed. B. Štědroň (1951); SKV C/4

IV/15

Na prievoze [On the Ferry] (Slovak trad.), ?1880–84, ed. V. Telec (Brno, 1957); SKV C/1

IV/16

Ave Maria (Byron, trans. J. Durdík), 1883, Varyto, vol.13/1 (1890), suppl.; ed. J. Trojan (1979); SKV C/2

IV/17

Mužské sbory [Male-Voice Choruses], 1885 (Brno, 1886, 2/1924 as Čtveřice mužských sborů [4 Male-Voice Choruses]): Vyhrůžka [The Warning]; Ó lásko [O Love]; Ach vojna, vojna [Ah, the War]; Krásné oči tvé [Your Lovely Eyes] (J. Tichý [F. Rypáček]); SKV C/1

IV/18

Kačena divoká [The Wild Duck], SAATTBB, 1885, ed. in Zpěvník pro školy střední a měšťanské, ii: Sbory smíšené, ed. B. Žalud and J. Barvič (Brno, 1885), 141–9; SKV C/4

IV/19

3 sbory mužské [3 Male-Voice Choruses], 1888, ed. M. Venhoda (1959): Loučení [Parting] (E. Krásnohorská), TTBB; Holubička [The Dove] (Krásnohorská), TTBBB; Žárlivec [The Jealous Man], TTBarBB; SKV C/1

IV/20

Královničky [The Little Queens] (‘Staré národní tance obřadné se zpěvy’) [Old Ritual Folkdances with Songs], 10 folksong arrs., unison vv, pf, ?by 21 Feb 1889, ed. B. Štědroň (1954) [collab. F.X. Bakeš]

IV/21

Naše píseň [2] [Our Song] (S. Čech), SATBB, 1890, ed. B. Štědroň (1951); SKV C/4; also with orch, see III/1; SKV C/4

IV/22

Což ta na naše bříza [Our Birch Tree] (Krásnohorská), 1893, Památník Svatopluka (Brno, 1893), also in Čtyři lidové mužské sbory (1923); SKV C/1

IV/23

Už je slúnko z tej hory ven [The Sun has Risen above that Hill], Bar, SATB, pf, perf. 13 May 1894, partly lost; SKV C/4

IV/24

Odpočiň si [Take your rest] (F. Sušil), funeral chorus, 1894 (1926); SKV C/1

IV/25

Slavnostní sbor (k svěcení praporu Svatojosefské jednoty) [Festive Chorus for Dedicating the Banner of the St Josef’s Union] (V. Šťastný), TTTBB, 1897, ed. J. Trojan (Prague and Vienna, 1978); SKV C/1

IV/26

Osamělá bez těchy [2] [Alone without Comfort] (Slovak trad.), c. 1898, rev. 1925, ed. J. Trojan (Prague and Vienna, 1978); SKV C/1

IV/27

Ukvalské písně [Hukvaldy Songs], 6 folksong arrs., SATB, 1899, ed. B. Štědroň (1949); SKV C/4

IV/28

Čtvero mužských sborů moravských [4 Moravian Male-Voice Choruses], 1900–06 (1906): Dež viš [If You Only Knew] (O. Přikryl); Komáři [Mosquitoes]; Klekánica [The Evening Witch] (Přikryl); Rozloučení [Parting]; SKV C/2

IV/29

Otče náš [Our Father] (Moravský Otče náš) [Moravian Our Father], tableaux vivants to paintings by J. Męcina-Krzesz, T, SATB, (pf, hmn)/pf/hmn, 1901; rev. T, SATB, hp, org, 1906, ed. B. Štědroň (1963)

IV/30

Elegie na smrt dcery Olgy [Elegy on the Death of my Daughter Olga] (after M.N. Veveritsa), T, SATB, pf, 1903; rev. 1904, ed. T. Straková (1958)

IV/31

Vínek [The Wreath], ?1904–6, pubd in Čtyři lidové mužské sbory (1923); SKV C/2

IV/32

Lidová nokturna: večerní zpěvy slovenského lidu z Rovného [Folk Nocturnes: Evening Songs of Slovak People from Rovné], 7 folksong arrs., SA, pf, 1906, 26 balad lidových [26 Folk Ballads], ii (1922)

IV/33

Kantor Halfar [Halfar the Schoolmaster] (P. Bezruč), 1906 (1923); SKV C/2

IV/34

Maryčka Magdónova [1] (Bezruč), TTTTBBBB, 1906; SKV C/2

IV/35

Maryčka Magdónova [2] (Bezruč), T, B, TTTBBB, 1907 (1909); SKV C/2

IV/36

70.000 (Sedmdesát tisíc) [70,000 (The Seventy Thousand)] (Bezruč), T, TTBB (solo qt), TTBB, 1909; rev. 1912 (1923); SKV C/2

IV/37

Pět národních písní [5 Folksongs], folksong arrs., T, TTBB, pf/hmn, 1912, Dvacet šest lidových balad, iv, ed. F.A. Kypta (1950)

IV/38

Perina [The Eiderdown], ?by 1914, pubd in Čtyři lidové mužské sbory (1923); SKV C/2

IV/39

Vlčí stopa [The Wolf’s Trail] (Vrchlický), S, SSAA, pf, 1916, ed. J. Ledeč (1968); SKV C/3

IV/40

Hradčanské písničky [Songs of Hradčany] (F.S. Procházka), 1916 (1922): Zlatá ulička [Golden Lane], SSAA; Plačící fontána [The Weeping Fountain], S, SSAA, fl; Belveder [Belvedere], S, SSAA, hp; SKV C/3

IV/41

Kašpar Rucký (Procházka), S, SSAA (solo qt), SSAA, 1916 (1925); SKV C/3

IV/42

Česká legie [The Czech Legion] (A. Horák), T, B, TTTBBB (1918); SKV C/2

IV/43

Potulný šílenec [The Wandering Madman] (R. Tagore, trans. F. Balej), S, T, Bar, TTBB, 1922 (1925); SKV C/2

IV/44

Naše vlajka [Our Flag] (Procházka), 2 S, 2 T, 5 B, TTBB, 1925–6 (c. 1926); SKV C/2

IV/45

Sbor při kladení základního kamene Masarykovy university v Brně [Chorus for Laying the Foundation Stone of the Masaryk University in Brno] (A. Trýb), TTTBBBB, 1928; SKV C/2

IX/12

Pensistům učitelům po 50 letech maturit [To Teacher-Pensioners on 50 Years after Matriculation] (anon.), TTBB, 1928, frag.; SKV C/2

Other vocal

jw

V/1

Když mě nechceš, což je víc? [If You Don’t Want Me, So What?], song, T, pf, ?1871–2/1875, facs. in JW, 154

X/3

Smrt [Death] (M.Y. Lermontov), melodrama, spkr, orch, perf. 13 Nov 1876, lost

X/7

Die Abendschatten (? K.F.H. Mayer), ?song cycle, ?1v, pf, 1879, lost [title mistranscribed as Die Abendschoppen in earlier catalogues]

X/9

song for L. Grill, ?1v, pf, 9 Nov 1879, lost

X/17

Frühlingslieder (V. Zusner), song cycle, 9 songs, 1v, pf, 22 April–7 May 1880, lost [text survives]

V/2

Moravská lidová poezie v písních [Moravian Folk Poetry in Songs], 53 folksong arrs., 1v, pf, c. 1892–1901 (Telč, c1892–c1901 as Kytice z národních písní moravských; 2/1908 as Moravská lidová poezie v písních) [with F. Bartoš]

V/3

Jarní píseň [Spring Song] (J. Tichý [F. Rypáček]), song, 1v, pf, 1898; rev. 1905, ed. L. Firkušný (Brno, 1944)

V/4

Ukvalská lidová poezie v písních [Hukvaldy Folk Poetry in Songs], 13 folksong arrs., 1v, pf, 1898 (Brno, 1899)

V/5

Návod pro výučování zpěvu [Singing-Teaching Manual], 104 exx., v/vv, pf, 1899 (Brno, 1899); SKV H/2

V/6

5 Moravian dances, folksong arrs., 1v, pf, 1908–12: Ten ukvalský kostelíček: Starodávný lašský [That Little Hukvaldy Church: Lachian Old-Fashioned Dance]; Tovačov, Tovačov, tovačovské zámek [Tovačov, Tovačov, the Castle in Tovačov]; Pilařská: Na pile zme dořezale [Sawdance: We’ve Finished Cutting at the Sawmill]; Aj, ženy: Vrtěná [O Women: Whirling Dance]; Krajcpolka: Bratr umřel, já sem zústal [Cross-Polka: My Brother Died, I Remained Here]; no.5, facs. in Večery [suppl. to Lidové noviny] (17 Feb 1912), complete, ed. O. Hrabalová and F. Hrabal (1979) as Pět moravských tanců; SKV/G2

V/7

4 ballads, Moravian folksong arrs., 1v, pf, 1908–12: Tam dole na dole [Down There in the Pit]; Seděl vězeň (Seděl jeden vězeň) [A Prisoner Sat (A Prisoner Sat in Jail)]; Rychtarova Kačenka [The Mayor’s Daughter Kačenka]; Rodinu mám [I Have a Family]; no.3 ed. J. Ceremuga in Lidové písně a balady (1978), complete, ed. J. Trojan (1980) as Čtyři balady

V/8

Dvě balady [2 Ballads], folksong arrs., 1v, pf, ?1908 – 4 Feb 1912: Vandrovali hudci [Fiddlers were Roaming]; A byl jeden zeman [And There was Once a Farmer]; no.1 ed. J. Ceremuga (1978) in Lidové písně a balady, no.2 unpubd [also with chorus IV/37]

V/9

6 národních písní jež zpívala Gabel Eva [6 Folksongs Sung by Eva Gabel], folksong arrs., 1v, pf, 1909, 26 balad lidových [26 Folk Ballads], i (1922)

V/10

Podme, milá, podme! [Let’s Come, my Dear, Let’s Come], folksong arr., 1v, pf, 1911, facs. in XIII/4

V/11

Písně dětvanské [Songs of Detva], zbojnické balady [Brigand Ballads], 6 folksong arrs. (Slovak and Cz. texts), 1v, pf, Dvacet šest lidových balad, iii, ed. F.A. Kypta (1950)

V/12

Zápisník zmizelého [The Diary of One who Disappeared] (O.[J.] Kalda), cycle of 21 songs and intermezzo, A, T, SSA, pf, 1917–20 (Brno, 1921); SKV E/4 [sic]; Urtext, ed. J. Zahrádka (Kassel, 2016)

V/13

Slezské písně (ze sbírky Heleny Salichové) [Silesian Songs (from Helena Salichová’s Collection)], 10 folksong arrs., 1v, pf, 1918 (Brno, 1920)

V/14

Ukolébavka [Lullaby], folksong arr., 1v, pf, 1920, in F. Pražák, ed.: Kniha Komenského k 250. výročí smrti J.A. Komenského(Brno, 1920), 42–3

V/15

3 Moravian folksong arrs., 1v, tr inst, 1923: Radujte se všichni [Rejoice All of You]; Sklenovské pomezi [Sklenov Border Country]; Poďte, poďte děvčatka [Come, Girls], ed. in L. Janáček: ‘Starosta Smolik’, Lidové noviny (18 March 1923); facs. and transcr. in L. Janáček: Fejetony z Lidových novin (Brno, 1958), 24, 26, 28, and unpaginated

V/16

Říkadla [1] [Nursery Rhymes] (Cz. and Moravian trad.), 8 songs, 1–3 Mez, cl, pf, 1925, 2 pubd as suppl. to ReM, vol.7/10 (1926), complete, ed. A. Němcová (Brno and Vienna, 1993) [re-used in V/17]

V/17

Říkadla [2] [Nursery Rhymes] (Cz., Moravian and Ruthenian trad.), introduction and 18 songs, 2 S, 2 A, 3 T, 2 B, ocarina, fl, fl + pic, 2 cl, bn, bn + dbn, child’s drum, db, pf, 1926, authorized red. for v/vv, va/vn, pf by E. Stein (Vienna, 1928), fs (Vienna, 1929) [see also V/16]; SKV E/4 [sic]

Orchestral

JW

VI/1

Zvuky ku památce Förchgotta-Tovačovského (II. oddíl) [Sounds in Memory of Arnošt Förchgott-Tovačovský (pt 2)], 3 vn, va, vc, db, ?March–June 1875, facs. part pubd in T. Straková (J1959)

VI/2

Suite, str, 1877 (Brno, 1926) [4th movt based on VII/2]; SKV D/1-1

VI/3

Idylla [Idyll], str, 1878, ed. B. Štědroň (1951); SKV D/1-2

X/13

Scherzo for sym., 1880, lost

VI/4

Valašské tance [Valachian Dances; Dances from Valašsko], Moravian folkdance arrs., 1889–91: Čeladenský [(dance) from Čeladná]; Dymák [Smoke Dance]; Kožich [Fur Coat]; Pilky [Handsaw]; Požehnaný [Blessed]; Starodávný I [Old-Fashioned]; Starodávný IIa; Starodávný IIb; Troják lašský [Lachian Triple (dance)]; perf. in varying combinations 1889–91, Pilky and Starodávný I pubd as op.2 (1890) [see also VI/17]

VI/5

[Adagio], ?after 9 Nov 1890, ed. (1958), ed. O. Chlubna (1964)

VI/6

Suite (Serenade), op.3, 1891, ed. B. Štědroň (1958) [incl. Požehnaný and Dymák, see VI/4]; SKV D/2

VI/7

Moravian dances, 5 folkdance arrs., 1889–91, ed. (1957) as Moravské tance: Kožich; Kalamajka; Trojky [Threes]; Silnice [Road]; Rožek [Little Corner] [from I/2; Kožich also in VI/4]

VI/8

Dances from Haná, 4 Moravian folkdance arrs., no.4 with TTBB, 1891, nos.2–4 ed. in VI/7 (1957), complete, ed. in I/2 (1957): Kalamajka; Trojky; Silnice; Troják [Triple Dance] [from I/2; title ‘Hanácké tance’ used in reports of 1st perf. on 20 Nov 1892]

VI/9

České tance, 1. Suita [Czech Dances, Suite no.1], 5 Moravian folkdance arrs., no.3 with SATB, 1893, nos.1, 2, and 5 pubd as VI/17 nos.2, 3, and 5 (1928), no.4 pubd as VI/7 no.1 (1957): Dymák; Požehnaný; Keď zme šli na hody [As We Went to the Feast]; Křížový [Cross Dance]; Čeladensky [from VI/4 and III/4]

VI/10

Žárlivost [Jealousy], after Moravian folksong Žárlivec [The Jealous Man], 1895, ed. (1957) [orchd rev. of VIII/16; orig. prelude to I/4]

VI/11

Požehnaný [Blessed], Moravian folkdance arr., 1899 [different arr. from that in I/2, VI/4 and VI/6]

VI/12

Kozáček [Cossack Dance], 1899, ed. (1958) in Dva tance, 1–5

VI/13

Srbské kolo [Serbian Reel], 2 fl, 2 bn, str, 1900, ed. (1958) in Dva tance, 6–8

VI/14

Šumařovo dítě [The Fiddler’s Child], ballad (sym. poem) after S. Čech, 1913 (Brno, 1914); SKV D/6

VI/15

Taras Bulba, rhapsody after N.V. Gogol, 1915–18, arr. B. Bakala, pf 4 hands (1925), fs (1927); SKV D/7

VI/16

Balada blanická [The Ballad of Blaník], sym. poem after J. Vrchlický, ?Sept–Oct 1919, ed. B. Bakala (1958); SKV D/8

VI/17

Lašské tance [Lachian Dances; Dances from Lašsko], 6 Moravian folkdance arrs.: Starodávný I; Požehnaný; Dymák; Starodávný II; Čeladenský; Pilky, 1924 (1928); SKV D/4 [from VI/4]

VI/18

Sinfonietta (Vojenská symfonietta; Sletová symfonietta [Military Sinfonietta; Rally Sinfonietta]), 1926 (Vienna, 1926); ed. J. Zahrádka (Vienna, 2017)

IX/7

Dunaj [The Danube], sym. after P. Křičková: Utonulá [The Drowned Woman] and A. Insarov [S. Špálová]: Lola, 1923–5, frag.; completed by O. Chlubna, 1948, and by M. Štědroň and L. Faltus, 1985–6; SKV H/3

IX/10

Violin Concerto ‘Putování dušičky’ [The Pilgrimage of a Little Soul; The Wandering of a Little Soul], ?May–June 1926, sketches [some used in ov. to I/11; completed by L. Faltus and M. Štědroň, 1988, pf score (1991)]; SKV H/4

Chamber

jw

VII/1

Znělka [1] [Sonnet], A, 4 vn, 1875, facs. (bars 1–22) in T. Straková (J1959)

VII/2

VII/2 Znělka [2] [Sonnet], d, 4 vn, 1875, frag; rev. as 4th movt of VI/2

X/8

[7] Romanzen, vn, pf, 27 Oct–17 Nov 1879, all lost except VII/3

VII/3

4. Romance [Romance no.4], vn, pf, 1879, ed. J. Štědroň (1938); SKV E/1

VII/4

Dumka, vn, pf, ?1879–80, ed. R. Zika (1929); SKV E/1

X/12

Sonata [no.1], vn, pf, 14–18 Jan 1880, 2 movts, lost

X/16

Sonata [no.2], vn, pf, 20 April–13 May 1880, 4 movts, lost

X/18

String Quartet, 27 May–2 June 1880, 3 movts, lost

X/19

Menuetto a Scherzo, cl, pf, perf. 6 Jan 1881, lost

X/22

Piano Trio, after L.N. Tolstoy: Kraytserova sonata [The Kreutzer Sonata], by ?Dec 1908, perf. 2 April 1909, lost

VII/5

Pohádka [Fairy Tale (A Tale)], after V.A. Zhukovsky: Skazka o tsare Berendyeye [The Tale of Tsar Berendyey], vc, pf, 1910, rev. 1912, 1913 (lost), 1923 (1924); SKV E/2 [incl. facs. of 1910 version and part of 1912 version]

VII/6

[Presto], vc, pf, ?1910/?1924, ed. J. Trojan (Prague and Kassel, 1970); SKV E/2

VII/7

Sonata, vn, pf, 1914–15, Ballada only (Kutná Hora, 1915), rev. ?aut. 1916–1922 (1922); SKV E/1

X/23

Komár [The Mosquito], vn, pf, ?1922–8, lost

VII/8

String Quartet [no.1] after L.N. Tolstoy: Kraytserova sonata [The Kreutzer Sonata], 1923, ed. J. Suk (1925) [based on Pf Trio X/22]; SKV E/3

IX/8

[Sanssouci (Teskně)] [Sans Souci (Wistfully)], fl, spinet, 1924, frag. in ‘Berlín’ XV/253, Lidové noviny (15 May 1924); facs. and transcr. in L. Janáček: Fejetony z Lidových novin (Brno, 1958), 163, and unpaginated

IX/9

[Allegro], pic, glock, drums, 1924, frag., in ‘Berlín’ XV/253, Lidové noviny (15 May 1924); facs. and transcr. in L. Janáček: Fejetony z Lidových novin (Brno, 1958), 165 and unpaginated

VII/9

Pochod Modráčků [March of the Bluebirds], pic, pf, 1924, ed. in Hudební besídka, vol.4 (1927–8), 121–7, ed. J. Burghauser (1970) [based on IX/8 and IX/9]

VII/10

Mládí [Youth], suite, fl + pic, ob, cl, hn, bn, b cl, 1924 (1925); SKV E/6 [3rd movt incl. material from VII/9]

VII/11

Concertino, pf, cl, hn, bn, 2 vn, va, 1925 (1926); SKV E/7

VII/12

Capriccio (‘Vzdor’ [Defiance]), pf LH, fl + pic, 2 tpt, 3 trbn, t tuba, 1926, ed. J. Burghauser (1953); SKV E/5

VII/13

String Quartet [no.2] ‘Listy důvěrné’ [Intimate Letters], 1928, ed. F. Kudláček and O. Nebuška (1938); SKV E/4

Keyboard

for piano 2 hands unless otherwise stated

JW

VIII/1

exercises in harmony and counterpoint, kbd, 1874–5, 15 pubd in V. Helfert (E1939), 81–6

VIII/2

Předehra [Prelude], org, 1875, ed. M. Buček, Varhanní skladby (1875) (1976), 9–13; SKV F/2

VIII/3

Varyto, org, 1875, ed. M. Buček, Varhanní skladby (1875) (1976), 14–19; SKV F/2

VIII/4

Chorální fantasie [Chorale Fantasy], org, 1875, ed. M. Buček, Varhanní skladby (1875) (1976), 20–26; SKV F/2

VIII/5

exercises in form, kbd, 1877, 5 pubd in V. Helfert (E1939), 104–6

IX/1

Rondo, 1877, frag., ed. J. Dlouhý and R. Kubik, Klavírní miniatury, i (Brno and Mainz, 1994), no.9

IX/2

V Oettingenách, 4 VIII 1878 [In Oettingen, 4 August 1878], org, frag., ed. in V. Helfert (E1939), suppl. p.9, no.41; SKV F/2

X/4

Dumka, by 8 Sept 1879, lost

X/5

Piano Sonata, E♭, ?4–6 Oct 1879, lost

X/6

14 fugues, kbd, 9 Oct 1879–14 Jan 1880, lost

X/11

Zdenči-menuetto [Zdenka’s Minuet], by 8 Jan 1880, lost

VIII/6

Thema con variazioni (‘Zdenčiny variace’ [Zdenka Variations]), 1880, ed. V. Kurz (1944); SKV F/1

X/14

4 rondos, 16–23 Feb 1880, 3–?7 April 1880, lost

X/15

piece in sonata form, 10–13 April 1880, lost

VIII/7

[2] Skladby pro varhany [Pieces for Organ], 1884 (Brno, 1884); SKV F/2

VIII/8

Dymák [Smoke Dance], Moravian folkdance arr., after 1885, ed. J. Trojan, Klavírní miniatury, ii (Brno and Mainz, 1995), no.22

VIII/9

Na památku [In memoriam], ?1887 (Brno, c. 1887), ed. J. Trojan (Prague, 1979)

VIII/10

Národní tance na Moravě [Folkdances in Moravia], 21 folkdance arrs., pf 2 hands, 4 hands, some with cimb, some 1v, 1885–6, 1888–9 (Brno, 1891–3) [collab. L. Bakešová, X. Běhálková and M. Zeman]

VIII/11

Srňátko [The Fawn], Moravian folkdance arr., after 1888, ed. J. Trojan, Klavírní miniatury, ii (Brno and Mainz, 1995), no.24

VIII/12

Ej, danaj!, Moravian folkdance arr., 1892, SKV F/1; also arr. SATTB, orchd as Zelené sem seła III/3

VIII/13

Hudba ke kroužení kužely [Music for Club Swinging (Music for Indian Club Swinging)], 1893 (Brno, 1895); SKV F/1

VIII/14

Řezníček [The Little Butcher], Moravian folkdance arr., ?1893, ed. J. Trojan, Klavírní miniatury, ii (Brno and Mainz, 1995), no.25

VIII/15

Zezulenka [The Little Cuckoo], Moravian folkdance arr., ?1893, ed. J. Trojan, Klavírní miniatury, ii (Brno and Mainz, 1995), no.26

VIII/16

Úvod k Její pastorkyni (Žárlivost) [Prelude to Jenůfa (Jealousy)], pf 4 hands, 1894, ed. A. Němcová (Brno and Mainz, 1995) as Žárlivost

VIII/17

Po zarostlém chodníčku [On the Overgrown Path], 15 miniatures [nos.1, 2, 4, 7, 10 orig. for hmn], 1900–11, i [nos.1–10] (Brno, 1911), ii [nos.11–15], ed. F. Schäfer (1942); SKV F/1 [nos.1, 2, and 10 orig. in Slovanské melodie, v, ed. E. Kolář (Ivančice, nr Brno, 1901); 4 and 7 orig. in Slovanské melodie, vi (1902); no.11 orig. in Večery (30 Sept 1905), suppl. to Lidové noviny]

VIII/18

Moravské tance [Moravian Dances], 2 Moravian folkdance arrs: Čeladenský; Pilky, 1904 (Brno, 1905); SKV F/1

VIII/19

1.X.1905 (Z ulice dne 1. října 1905) [From the Street, 1 October 1905] (‘Sonata’), 1905–6 (1924); SKV F/1 [3 movts, 1 lost]

X/21

piece for Po zarostlém chodníčku VIII/17, between 7 May and 6 June 1908, lost

VIII/20

Narodil se Kristus Pán [Christ the Lord is Born], pf with text, 1909, in L. Janáček: ‘Světla jitřní’ [Early Morning Lights], XV/194, Lidové noviny (24 Dec 1909), ed. J. Dlouhý and R. Kubik, Klavírní miniatury, i (Brno and Mainz, 1994), no.13

VIII/21

[Moderato], by April 1911, facs. in J. Kunc (E1911), ed. J. Dlouhý and R. Kubik, Klavírní miniatury, i (Brno and Mainz, 1994), no.4

VIII/22

V mlhách [In the Mists], by 21 April 1912 (Brno, 1913); SKV F/1

VIII/23

[Moravské lidové písně] [Moravian Folksongs], 15 Moravian folksong arrs., pf with text, by 1 Jan 1922, ed. B. Štědroň (1950)

VIII/24

Ej, duby, duby [O, the oaks, the oaks], Moravian folksong arr., pf with text, by 1 Jan 1922, ed. J. Ceremuga, Lidové písně a balady (1978), no.1

VIII/28

Bratřím Mrštíkům [To the Mrštík Brothers], ?pf, 28 Feb 1925, facs. in JW, 273

VIII/29

untitled piece, ?by 1926, ed. J. Dlouhý and R. Kubik, Klavírní miniatury, i (Brno and Mainz, 1994), no.2

VIII/30

Na starém hradě Hukvalském [At the Old Castle in Hukvaldy], Moravian folkdance arr., 8 June 1926, facs. in exhibition catalogue Pobeskydí v Místku (?Místek, 1926); facs. in J. Procházka (F1948), 187

VIII/32

Vzpomínka [Reminiscence], 1928, suppl. to Muzika, i (Belgrade, 1928), no.6; SKV F/1

VIII/33

pieces in Kamila Stösslová’s album, pf/hmn, 1927–8, ed. in J. Procházkova: Leoš Janáček: Památník pro Kamilu Stösslovou (1994)

untitled pieces (VIII/25, VIII/26, VIII/27, VIII/31) in Janáček’s feuilletons XV/237, XV/246, XV/249, XV/289, pubd in Lidové noviny, 1922–7; facs. and transcrs. in L. Janáček: Fejetony z Lidových novinách (Brno, 1958)

Arrangements and transcriptions

jw

XII/1

J. Haydn: Gott erhalte den Kaiser!, arr. 1v/?unison vv, org, ?1872–1903

XII/2

A. Dvořák: Šest moravských dvojzpěvů [6 Moravian Duets], arr. SATB, pf, nos.1–4 by 2 Dec 1877, nos.5–6 by 8 Nov 1884, chorus pt, ed. J. Plavec (1939) [privately printed], vs, ed. P. Jeřábek (1978)

XIII/3

E. Grieg: Landkjending, op.31, transcr. for Bar, TTBB, pf, hmn, by 20 March 1901

XII/4

F. Liszt: Messe pour orgue (Lat. text), arr. SAATTBB, org, by 16 Oct 1901, ed. J. Burghauser (Vienna, 1978)

XII/5

Církevní zpěvy české vícehlasné z Příborského kancionálu [Czech Hymns for Several Voices from the Příbor Hymnbook], transcr. of 7 hymns for 3–5 mixed vv, c. 1904

Folk music editions

jw

XIII/1

with F. Bartoš: Kytice z národních písní moravských [A Bouquet of Moravian Folksongs], 174 songs, unacc. (Telč, 1890)

XIII/2

with F. Bartoš: Kytice z národních písní moravských, slovenských a českých [A Bouquet of Moravian, Slovak, and Czech Folksongs], 195 songs, unacc. (Telč, 1901)

XIII/3

with F. Bartoš: Národní písně moravské v nově nasbírané [Moravian Folksongs Newly Collected], 2057 songs, mostly unacc., and dances, by 1899 (1899–1901)

XIII/4

with P. Váša: ‘Z nové sbírky národních písní moravských’ [From the New Collection of Moravian Folksongs], 25 songs, unacc., and dances, Večery, suppl. to Lidové noviny (23 Dec 1911, 6 Jan 1912); repr. in L. Janáček: Fejetony z Lidových novin (Brno, 1958), 295–315

XIII/5

with P. Váša: Moravské písně milostné [Moravian Love Songs], 150 songs, unacc., by 1928 (1930–36)

Writings

    For complete list see Simeone, Tyrrell, and Němcová (A1997), 357–445

Collections

  • L. Firkušný: Leoš Janáček kritikem brněnské opery [Janáček as a critic of the Brno Opera] (Brno, 1935) [reprs. of Janáček’s reviews in Hudební listy, 1884–8]
  • ed. J. Racek and L. Firkušný: Janáčkovy feuilletony z L.N. [Janáček’s feuilletons from the Lidové noviny] (Prague, 1938; enlarged 2/1958 as Fejetony z Lidových novin)
  • ed. J. Vysloužil: Leoš Janáček: O lidové písní a lidové hudbě [Folksong and folk music], Janáčkův archiv, ii/1, (Prague, 1955) [Janáček’s collected writings on folk music]
  • ed. and trans. L. Spies: Feuilletons aus den “Lidové noviny”’ (Leipzig, 1959, 2/1962)
  • ed. Z. Blažek: Leoš Janáček: Hudebně teoretické dílo [Music theory works], Janáčkův archiv, 2, : 1: Spisy, studie a dokumenty [Writings, studies and documents] (Prague, 1968); 2: Studie, Úplná nauka o harmonii [Studies, Complete harmony manual] (Prague, 1974)
  • B. Štědroň: ‘Leoš Janáček kritikem brněnské opery v letech 1890–1892’ [Janáček as a critic of the Brno Opera 1890–92], Otázky divadla a filmu: theatralia et cinematographica, ed. A. Závodsky, i (Brno, 1970), 207–48 [with Eng. summary]; Ger. trans. in Leoš Janáček-Gesellschaft: Mitteilungsblatt, (1971), nos.3–4; (1972), nos.1–2 [repr. Janáček’s reviews in Moravské listy, 1890–92]
  • ed. T. Straková: Leoš Janáček: Musik des Lebens: Skizzen, Feuilletons, Studien (Leipzig, 1979)
  • ed. and trans. V. and M. Tausky: Leoš Janáček: Leaves from his Life (London, 1982)
  • ed. and trans. M. Zemanová: Janáček’s Uncollected Essays on Music (London, 1989)
  • ed. M. Beckerman: Janáček and his World (Princeton, NJ, 2003) [incl. seven Janáček writings trans. by V. Firkušný-Callegari and T. Firkušný]
  • ed. T. Straková and E. Drlíková: Leoš Janáček, Literární dílo [Literary works] (1875–1928), SKV, i/1-1 (Brno, 2003) [LD, i]; SKV, i/1-2 (Brno, 2003) [LD, ii]
  • ed. and trans. K. Lücker: Leoš Janáček: Die frühen Schriften 1884–1888: Grundlegung einer Musiktheorie, Querstand: Musikalische Konzepte, iii (Frankfurt, 2006)
  • ed. L. Faltus and others: Leoš Janáček: Teoretické dílo [Theoretical works] (1877–1927), SKV, i/2-1 (Brno, 2007) [TD, i]
  • ed. L. Faltus, E. Drlíková, and S. Přibáňová: Leoš Janáček: Teoretické dílo [Theoretical works] (1877–1927), SKV, i/2-2 (Brno, 2007–8) [TD, ii]
  • ed. J. Procházková, M. Toncrová, and J. Vysloužil: Leoš Janáček: Folkloristické dílo [Folkloric studies] (1886–1927), SKV, i/3-1 ( Brno, 2009) [FD, i]
  • ed. J. Procházková and others: Leoš Janáček: Folkloristické dílo [Folkloric studies] (1886–1927), SKV, i/3-2 ( Brno, 2018) [FD, ii]

Complete List

With a few exceptions only first publications are recorded here (fuller bibliographical information can be found in LD, TD, FD, and in Simeone, Tyrrell, and Němcová (1997), 357–445) and modern reprint information is confined to LD, TD, and FD. The following abbreviations are used specifically in this list: HL = Hudební listy; ML = Moravské listy; MO = Moravská orlice.

Writings Published During Janáček’s Lifetime

XV/1 ‘Pavel Křížkovský a jeho činnost u opravě chrámové hudby’ [Pavel Křížkovský and his activities in the restoration of church music], Cecilie, vol.2/1 (1875), 1–4; LD, 1, no.1

XV/2 ‘Z Prahy (Kostelní zpěv na C.k. Vyšší české reálce’) [From Prague (Church singing at the imperial and royal higher Czech Realschule)], Cecilie, vol.2/2 (1875), 21–2; LD, 1, no.2

XV/3 ‘Z Brna’ [From Brno], Cecilie, vol.2/5 (1875), 38–9; LD, 1, no.3

XV/4 ‘[Zkouška pěvecká ke koncertu]’ [A singing rehearsal for a concert (untitled)], MO (28 July 1875); LD, 1, no. 4

XV/5 ‘Zasláno’ [Letter to the editor], MO (30 Oct 1875); LD, 1, no.5

XV/6 ‘Něco o hudbě brněnské’ [Something about music in Brno], MO (13 Nov 1875); LD, 1, no.6

XV/7 ‘Něco o hudbě brněnské’ [Something about music in Brno], MO (19 Nov 1875); LD, 1, no.7

XV/8 ‘Něco o hudbě brněnské’ [Something about music in Brno], MO (24 Nov 1875); LD, 1, no.8

XV/9 ‘Něco o hudbě brněnské’ [Something about music in Brno], MO (30 Nov 1875); LD, 1, no.9

XV/10 ‘Něco o hudbě brněnské’ [Something about music in Brno], MO (11 Dec 1875); LD, 1, no.10

XV/11 ‘Koncert ve prospěch nemocnice milosrdných bratrů’ [Concert in aid of the hospital of the Charitable Brothers], MO (14 Dec 1875); LD, 1, no.11

XV/12 ‘Hudební zábava “Brněnské besedy”’ [Musical entertainment at the Brno Beseda], MO (19 Dec 1875); LD, 1, no.12

XV/13 ‘II. koncert Brněnského hudebního spolku’ [Second concert of the Brno Musikverein], MO (2 May 1876); LD, 1, no.13

XV/14 ‘Nové varhany v Králové klášteře na Starém Brně’ [The new organ at the Queen’s Monastery in Old Brno], Hlas (5 Sept 1876); LD, 1, no.14

XV/15 ‘Komorní hudba pořádaná pí Amálií Wickenhauser–Nerudovou a p. Lvem Janáčkem’ [Chamber music given by Mrs Amálie Wickenhauser–Nerudová and Mr Lev Janáček], MO (23 Dec 1876); LD, 1, no.15

XV/16 ‘Všelijaká objasnění melodická a harmonická’ [General clarifications of melodic and harmonic matters], Cecilie, vol.4/1 (1877); TD, 1, 1–7

XV/17 ‘Quintett Brahmsů’ [sic; Brahms’s Quintet], MO (24 Jan, 1 Feb, 2 Feb 1877); LD, 1, no.16

XV/18 ‘Nový časopis hudební na Moravě’ [A new music periodical in Moravia], MO (30 Jan 1877); LD, 1, no.17

XV/19 ‘Z uměleckého života’ [From the artistic life], Hlas (27 June 1877); LD, 1, no.18

XV/20 ‘Základové, jimiž se řídí vyučování na Slovanských průpravnách učitelských v Brně’ [The basis of instruction at the Slavonic preparatory teachers’ institutes in Brno], Cecilie, vol.4/6–7 (1877), 44–6; LD, 1, no.19

XV/21 ‘Koncert [Brněnského spolku]’ [Concert (of the Brno Society)], MO (20 Dec 1877); LD, 1, no.20

XV/22 ‘České divadlo v Brně’ [The Czech theatre in Brno], MO (12 Oct 1880); LD, 1, no.21

XV/23 ‘Zřízení Varhanické školy na Moravě (Provolání)’ [The establishment of the Organ School in Moravia (Announcement)], Dalibor, vol.3/19 (1881), 153; LD, 1, no.22

XV/24 ‘Ondříčkův koncert v Brně’ [Ondříček’s concert in Brno], MO (20 Nov 1883); LD, 1, no.23

XV/25 ‘Provolání’ [Announcement], HL, vol.1/1 (1884), 1; LD, 1, no.24

XV/26 ‘Stati z theorie hudby’ [Essays from the theory of music], HL, vol.1/1 (1884) 2; [serialized up to HL, vol.1/13 (1885), 50]; TD, 1, 7–26; Ger. trans. in Lücker (2006), 19–35

XV/27 ‘Divadelní zprávy’ [Theatre news], HL, vol.1/1 (1884), 3–4; LD, 1, no.25

XV/28 ‘Divadelní zprávy’ [Theatre news], HL, vol.1/2 (1884), 6–7; LD, 1, no.26

XV28a ‘Rozmanitosti’ [Varia], HL, vol.1/2 (1884), 8; LD, 1, no.27

XV/29 ‘Divadelní zprávy’ [Theatre news], HL, vol.1/3 (1884), 11; LD, 1, no.28

XV29a ‘Rozmanitosti’ [Varia], HL, vol.1/3 (1884), 12; LD, 1, no.29

XV/30 ‘Tristan a Isolda od R. Wagnera’ [Tristan und Isolde by Richard Wagner], HL, vol.1/4 (1885), 14–15; serialized up to HL, vol.1/8 (1885), 29–30; LD, 1, no.30; Eng. trans. in Beckerman 2003, 223–5

XV/31 ‘Divadelní zprávy’ [Theatre news], HL, vol.1/4 (1885), 15; LD, 1, no.31

XV/32 ‘Divadelní zprávy’ [Theatre news], HL, vol.1/5 (1885), 19–20; LD, 1, no.32

XV/33a ‘Rozmanitosti’ [Varia], HL, vol.1/5 (1885), 19-20; LD, 1, no.33

XV/33 ‘Divadelní zprávy’ [Theatre news], HL, vol.1/6 (1885), 24; LD, 1, no.34

XV/34 ‘Divadelní zprávy’ [Theatre news], HL, vol.1/7 (1885), 28; LD, 1, no.35

XV34a ‘Rozmanitosti’ [Varia], HL, vol.1/7 (1885), 28; LD, 1, no.36

XV/35 ‘Divadelní zprávy’ [Theatre news], HL, vol.1/8 (1885), 31; LD, 1, no.37

XV/36 ‘Divadelní zprávy’ [Theatre news], HL, vol.1/9 (1885), 35; LD, 1, no.38

XV/37 ‘Divadelní zprávy’ [Theatre news], HL, vol.1/10 (1885), 39; LD, 1, no.39

XV/37a ‘Rozmanitosti’ [Varia], HL, vol.1/10 (1885), 40; LD, 1, no.40

XV/38 ‘Divadelní zprávy’ [Theatre news], HL, vol.1/11 (1885), 43; LD, 1, no.41

XV/39 ‘Zpěv na školách národních’ [Singing at primary schools], HL, vol.1/12 (1885), 45; LD, 1, no.42

XV/40 ‘Divadelní zprávy’ [Theatre news], HL, vol.1/12 (1885), 46; LD, 1, no.43

XV/41 ‘Divadelní zprávy’ [Theatre news], HL, vol.1/13 (1885), 51; LD, 1, no.44

XV/42 ‘I. koncert ve prospěch Varhanické školy’ [Second concert in aid of the Organ School], HL, vol.1/13 (1885), 54; LD, 1, no.45

XV/43 ‘K organizaci hudebního života v Brně’ [On the organization of musical life in Brno], MO (29 July 1885); LD, 1, no.46

XV/44 ‘O dokonalé představě dvojzvuku’ [On the perfect concept of the two–note chord], HL, vol.2/1 (1885), 1–3; serialized up to HL, vol.3/3 (19–21); pubd as O představě tóniny [On the concept of key] (Brno, 1886); TD, 1, 46–58; Ger. trans. in Lücker (2006), 36–65

XV/45 ‘Missa Quinti toni: Auctore Orlando di Lasso’, HL, vol.2/1 (1885), 4–6; vol.2/2 (1885), 16; LD, 1, no.47

XV/46 ‘Národní divadlo v Brně’ [The National Theatre in Brno], HL, vol.2/1 (1885), 7–9; LD, 1, no.48

XV/47 ‘Zpěvohra Národního divadla v Brně’ [The Opera of the Brno National Theatre], HL, vol.2/2 (1885), 17; LD, 1, no.49

XV/48 ‘Divadelní zprávy’ [Theatre news], HL, vol.2/3 (1885), 27; LD, 1, no.50

XV/49 ‘Zpěvohra Národního divadla v Brně’ [The Opera of the Brno National Theatre], HL, vol.2/4 (1885), 32; LD, 1, no.51

XV/50 ‘Zpěvohra Národního divadla v Brně’ [The Opera of the Brno National Theatre], HL, vol.2/5 (1885), 41; LD, 1, no.52

XV/51 ‘Zpěvohra Národního divadla v Brně’ [The Opera of the Brno National Theatre], HL, vol.2/6 (1886), 49; LD, 1, no.53

XV/52 ‘Zpěvohra Národního divadla v Brně’ [The Opera of the Brno National Theatre], HL, vol.2/8 (1886), 67; LD, 1, no.54

XV/53 ‘“Missa brevis”, složil Zdeněk Fibich’ [Missa brevis, composed by Zdeněk Fibich], HL, vol.2/8 (1886), 69–70; LD, 1, no.55

XV/54 ‘Národní divadla v Brně’ [The National Theatre in Brno], HL, vol.2/9 (1886), 77–8; LD, 1, no.56; Eng. trans. in Zemanová (1989), 136–41

XV/55 ‘Opera Národního divadla v Brně’ [The Opera of the Brno National Theatre], HL, vol.2/9 (1886), 78; LD, 1, no.57

XV/56 ‘Bedřich Smetana o formách hudebních’ [Bedřich Smetana on musical forms], HL, vol.3/1 (1886), 1–2; vol.3/3 (1886), 17–18; TD, 1, 59–66

XV/57 ‘Opera Proz. národního divadla v Brně’ [The Opera of the Provisional National Theatre in Brno], HL, vol.3/1 (1886), 5; LD, 1, no.58

XV/58 ‘Kancionálky’ [Hymnbooks], HL, vol.3/2 (1886), 9; vol.3/4 (1886), 25–6; vol.3/7 (1887), 49–51; LD, 1, no.59

XV/59 ‘Opera Proz. divadla v Brně’ [The Opera of the Provisional National Theatre in Brno], HL, vol.3/2 (1886), 13–14; LD, 1, no.60

XV/60 ‘Z hudebního ruchu brněnského’ [From Brno musical life], HL, vol.3/3 (1886), 21; LD, 1, no.61

XV/61 ‘O představě tóniny’ [On the concept of key], HL, vol.3/4 (1886), 26–7; serialized up to vol.3/10 (1887), 79–80; TD, 1, 67–96; Ger. trans. in Lücker (2006), 66–92

XV/62 ‘Opera Národního divadla v Brně’ [The Opera of the Brno National Theatre], HL, vol.3/4 (1886), 28–9; LD, 1, no.62; Eng. trans. in Zemanová (1989), 142–4

XV/63 ‘Introdukce ku “Markétce” Charla Gounoda’ [The introduction (overture) to Gounod’s Faust], HL, vol.3/5 (1886), 33–4; LD, 1, no.63

XV/64 ‘Opera Proz. divadla v Brně’ [The Opera of the Provisional National Theatre in Brno], HL, vol.3/5 (1886), 38; LD, 1, no.64

XV/65 ‘Slovanstvo ve svých zpěvech’ [Slavdom in its songs], HL, vol.3 (1886), 314ff; vol.4 (1887), 43ff; second version HL, vol.3/10 (1887), 73–8; FD, 1, no.1

XV/66 ‘Akademie hudební v Praze’ [A musical academy (concert) in Prague], HL, vol.3/6 (1887), 41; LD, 1, no.65; Eng. trans. in Zemanová (1989), 145–7; Ger. trans. in Straková (1979), 69–70

XV/67 ‘Opera Prozatímního národního divadla v Brně’ [The Opera of the Provisional National Theatre in Brno], HL, vol.3/6 (1887), 46; LD, 1, no.66

XV/68 ‘O vědeckosti nauk o harmonii’ [On the scientific nature of harmony treatises], HL, vol.3/7 (1887), 51–2; TD, 1, 97–100

XV/69 ‘Opera Proz. národního divadla v Brně’ [The Opera of the Provisional National Theatre in Brno], HL, vol.3/7 (1887), 53; LD, 1, no.67 (part 1); Eng. trans. in Zemanová (1989), 148–9

XV/70 ‘Původní novinka. Poprvé: Ženichové. Komická opera a.t.d. V hudbu uvedl Karel Kovařovic’ [An original novelty: for the first time: The Bridegrooms: comic opera etc., set to music by Karel Kovařovic], HL, vol.3/7 (1887), 54; LD, 1, no.67 (part 2); Eng. trans. in Zemanová (1989), 149; JODA, JP12

XV/71 ‘Tož přece aktuelní!’ [Something topical after all!], HL, vol.3/8 (1887), 57–8; LD, 1, no.68

XV/72 ‘Opera Proz. národního divadla v Brně’ [The Opera of the Provisional National Theatre in Brno], HL, vol.3/8 (1887), 64; LD, 1, no.69

XV/73 ‘Několik slov o “Svatojanských proudech” J. R. Rozkošného’ [A few words about Rozkošný’s St John’s Rapids], HL, vol.3/9 (1887), 65–6; LD, 1, no.70

XV/74 ‘Období divadelní skončeno’ [The theatre season is over], HL, vol.3/10 (1887), 73; LD, 1, no.71

XV/75 ‘Starý rukopis notový z archivu Králové kláštera na Starém Brně’ [An old music manuscript from the archive of the Queen’s Monastery in Old Brno], HL, vol.4/1 (1887), 1–6; LD, 1, no.72

XV/76 ‘O trojzvuku’ [On the triad], HL, vol.4/1 (1887), 6–11; serialized up to HL, vol.4/8 (1887), 118–21; TD, 1, 101–72

XV/77 ‘Opera Proz. národního divadla v Brně’ [The Opera of the Provisional National Theatre in Brno], HL, vol.4/1 (1887), 14; LD, 1, no.73; Eng. trans. in Zemanová (1989), 150–52

XV/78 ‘Návrh osnovy pro vyučování zpěvu na gymnasiích a školách reálných’ [Proposal for a singing–teaching course at gymnasia and Realschulen], HL, vol.4/2 (1887), 17–19; LD, 1, no.74

XV/79 ‘Opera Proz. národního divadla v Brně’ [The Opera of the Provisional National Theatre in Brno], HL, vol.4/2 (1887), 29; LD, 1, no.75

XV/80 ‘Slovíčko o kontrapunktu’ [A brief word about counterpoint], HL, vol.4/3 (1888), 33–4; TD, 1, 173–6; Eng. trans. in Štědroň (1955), 60 [extract]; Ger. trans. in Lücker (2006), 159–60

XV/81 ‘O transponování chorálních zpěvů’ [On the transposition of choral songs], HL, vol.4/3 (1888), 38–9; LD, 1, no.76

XV/82 ‘O vyučování zpěvu v 1. třídě školy národní’ [On teaching singing to the 1st class of primary school], HL, vol.4/3 (1888), 39–40; LD, 1, no.77

XV/83 ‘Opera Proz. národního divadla v Brně’ [The Opera of the Provisional Theatre in Brno], HL, vol.4/3 (1888), 45; LD, 1, no.78

XV/84 ‘Duchaplná práce’ [Spiritual work], HL, vol.4/4 (1888), 49–50; LD, 1, no.79

XV/85 ‘Opera Proz. národního divadla v Brně’ [The Opera of the Provisional National Theatre in Brno], HL, vol.4/4 (1888), 59; LD, 1, no.80; Eng. trans. in Štědroň (1955), 55–6; Zemanová (1989), 153–5

XV/86 ‘Zvláštní úkaz’ [A special phenomenon], HL, vol.4/5 (1888), 65–71; LD, 1, no.81

XV/87 ‘P.I. Čajkovský v Praze’ [Tchaikovsky in Prague], HL, vol.4/6 (1888), 73–6; LD, 1, no.82

XV/88 ‘Pohodlí v invenci’ [Ease in invention], HL, vol.4/6 (1888), 81–2; LD, 1, no.83

XV/89 ‘Bojovnému kohoutu z Dalibora’ [To the fighting cock from Dalibor], HL, vol.4/6 (1888), 96; LD, 1, no.84

XV/90 ‘Těžká intonace’ [Difficult intonation], HL, vol.4/7 (1888), 97–8; LD, 1, no.85

XV/91 ‘Ricercar’, HL, vol.4/8 (1888), 113; LD, 1, no.86

XV/92 ‘Chystají se do tisku’ [Preparations for publication], HL, vol.4/8 (1888), 123–4; LD, 1, no.87

XV/93 ‘Národní písně moravské’ [Moravian folksongs], HL, vol.4/8 (1888), 124–5; FD, 1, no.2

XV/94 ‘Několik slov o lidových písních moravských: Hudební stránka’ [Some words on Moravian folksongs: the musical side], F. Bartoš, ed. Národní písně moravské v nově nasbíráné (Brno, 1889), chap. 2; FD, 1, no.3

XV/95 ‘Dmitrij Slavjanskij’, MO (11 May 1890); LD, 1, no.88

XV/96 ‘České divadlo v Brně’ [The Czech theatre in Brno], ML (8 Oct 1890); LD, 1, no.89; Eng. trans. in Zemanová (1989), 156–8

XV/97 ‘Koncert Ondříčkův’ [Ondříček’s concert], ML (15 Oct 1890); LD, 1, no.90

XV/98 ‘Prozatímní národní divadlo’ [The Provisional National Theatre], ML (15 Oct 1890); LD, 1, no.91

XV/99 ‘Prozatímní národní divadlo: Opera’ [The Provisional National Theatre: Opera], ML (29 Oct 1890); LD, 1, no.92

XV/100 ‘Zpěvohra v Prozatímním národním divadle’ [The Provisional National Theatre: Opera], ML (4 Nov 1890); LD, 1, no.93

XV/101 ‘Opera: Prodaná nevěsta’ [Opera: The Bartered Bride], ML (12 Nov 1890); LD, 1, no.94

XV/102 ‘Filharmonický spolek Beseda brněnská’ [The Philharmonic Society, the Brno Beseda], ML (12 Nov 1890); LD, 1, no.95

XV/103 ‘Opera v Prozatímním národním divadle’ [Opera in the Provisional National Theatre], ML (22 Nov 1890); LD, 1, no.96

XV/104 ‘Prozatímní národní divadlo v Brně’ [The Provisional National Theatre in Brno], ML (13 Dec 1890); LD, 1, no.97

XV/105 ‘Troubadour: Opera od Verdiho’ [Il trovatore: opera by Verdi], ML (20 Dec 1890); LD, 1, no.98

XV/106 ‘Prodaná nevěsta’ [The Bartered Bride], ML (20 Dec 1890); LD, 1, no.99

XV/107 ‘Opera Prozatímního národního divadla’ [The Opera of the Provisional National Theatre], ML (31 Dec 1890); LD, 1, no.100

XV/108 ‘Předmluva’ [Preface], Kytice z národních písní moravských, slovenských i českých [A bouquet of Moravian, Slovak, and Czech folksongs] (Telč, enlarged 3/1893) (XIII/1); FD, 1, no.12

XV/109 ‘Tance valašské a lašské’ [Valachian and Lachian dances], ML (3 Jan 1891); FD, 1, no.4

XV/110 ‘Opera Prozatímního národního divadla v Brně’ [The Opera of the Provisional National Theatre in Brno], ML (15 Jan 1891); LD, 1, no.101

XV/111 ‘Bramborová vojna: Mladý houslista’ [The Potato War: The Young Violinist], ML (17 Jan 1891); LD, 1, no.102

XV/112 ‘Prozatímní národní divadlo v Brně’ [The Provisional National Theatre in Brno], ML (24 Jan 1891); LD, 1, no.103; Eng. trans. in Zemanová (1989), 159

XV/113 ‘Mladý houslista’ [The Young Violinist], ML (29 Jan 1891); LD, 1, no.104

XV/114 ‘Eugenij Oněgin’ [Eugene Onegin], ML (28 Feb 1891); LD, 1, no.105; Eng. trans. in Zemanová (1989), 160–63; Ger. trans. in Straková (1979), 71–3

XV/115 ‘Zemřel prof. dr. Josef Chmelíček’ [The death of Prof. Dr Josef Chmelíček], ML (19 March 1891); LD, 1, no.106

XV/116 ‘Svatá Ludmila od Antonína Dvořáka’ [St Ludmila by Antonín Dvořák], ML (18 April 1891); LD, 1, no.107

XV/117 ‘Národní písně pro školy obecné’ [Folksongs for primary schools], ML (11 July 1891); LD, 1, no.108

XV/118 ‘Naše divadlo’ [Our theatre], ML (30 Sept 1891); LD, 1, no.109

XV/119 ‘Zpěvohra v Prozatímním českém divadle’ [Opera in the Provisional Czech Theatre], ML (7 Oct 1891); LD, 1, no.110; Eng. trans. in Zemanová (1989), 164–6

XV/120 ‘Zpěvohra českého Prozatímního divadla’ [Opera of the Czech Provisional Theatre], ML (10 Oct 1891); LD, 1, no.111

XV/121 ‘Zpěvohra v Prozatímním českém divadle’ [Opera in the Provisional Czech Theatre], ML (24 Oct 1891); LD, 1, no.112

XV/122 ‘Zpěvohra v Prozatímním českém divadle’ [Opera in the Provisional Czech Theatre], ML (31 Oct 1891); LD, 1, no.113

XV/123 ‘Koncert Ondříčkův v Brně dne 29. října 1891’ [Ondříček’s concert in Brno 29 Oct 1891], ML (31 Oct 1891); LD, 1, no.114

XV/124 ‘Opera Prozatímního národního divadla’ [The Opera of the Provisional National Theatre], ML (14 Nov 1891); LD, 1, no.115

XV/125 ‘Národní divadlo v Brně’ [The National Theatre in Brno], ML (2 Dec 1891); LD, 1, no.116

XV/126 ‘Filharmonická beseda’ [The Philharmonic Beseda], ML (2 Dec 1891); LD, 1, no.–

XV/127 ‘Oslava Mozartova ve výroční den úmrtí jeho před 100 lety’ [The Mozart celebration on the 100th anniversary of his death], ML (9 Dec 1891); LD, 1, no.117; Eng. trans. in Zemanová (1989), 167–9

XV/128 ‘Zpěvohra v Prozatímním českém divadle’ [Opera in the Provisional Czech Theatre], ML (19 Dec 1891); LD, 1, no.118

XV/129 ‘O písni národní’ [On folksong], ML (24 Dec 1891); FD, 1, no.5

XV/130 ‘Romeo a Julie’ [Roméo et Juliette], ML (30 Dec 1891); LD, 1, no.119; Eng. trans. in Zemanová (1989), 170–71

XV/131 ‘Hoffmannovy povídky’ [Les contes d’Hoffmann], ML (20 Jan 1892); LD, 1, no.120; Eng. trans. in Zemanová (1989), 172–3

XV/132 ‘Hubička od B. Smetany’ [The Kiss by Bedřich Smetana], ML (27 Jan 1892); LD, 1, no.121

XV/133 ‘Koncert Filharmonického spolku Beseda brněnská’ [A concert of the Philharmonic Society Brno Beseda], ML (27 Jan 1892); LD, 1, no.122

XV/134 ‘Hudební album: Původní produkce domácí’ [A Musical Album: an original Czech collection], ML (30 Jan 1892); LD, 1, no.123

XV/135 ‘Zasláno: Panu Fr. A. Urbánkovi, redaktoru Dalibora v Praze’ [An open letter to Mr František Adolf Urbánek, editor of Dalibor in Prague], ML (13 Feb 1892); LD, 1, no.124

XV/136 ‘Zvonky cornevillské od Planquetta’ [Les cloches de Corneville by Planquette], ML (27 Feb 1892); LD, 1, no.125

XV/137 ‘Sedlák kavalír’ [Cavalleria rusticana], ML (9 March 1892); LD, 1, no.126; Eng. trans. in Zemanová (1989), 174–5

XV/138 ‘Koncert Besedy brněnské’ [A concert of the Brno Beseda], ML (16 March 1892); LD, 1, no.127

XV/139 ‘Mladý houslista’ [The Young Violinist], ML (13 April 1892); LD, 1, no.128

XV/140 ‘O sbírkách lidových písní’ [On folksong collections], ML (16 April 1892); FD, 1, no.6

XV/141 ‘Koncert Dvořákův v Brně’ [Dvořák’s concert in Brno], ML (20 April 1892); LD, 1, no.129

XV/142 ‘Koncert Raula Koczalského’ [The concert of Raoul Koczalski], ML (4 May 1892); LD, 1, no.130

XV/143 ‘Hudba pravdy’ [The music of truth], LN (16 Dec 1893); FD, 1, no.9; Ger. trans. in Spies (1959), 47–51

XV/144 ‘Obraty melodické v lidové písni’ [Melodic turns of phrase in folksongs], Česká lid, vol.2 (1893), 60–65; FD, 1, no.7

XV/145 ‘Osnovy hudební lidových tanců na Moravě’ [The outlines of musical folk dances in Moravia], Česká lid, vol.2 (1893), 494–509; FD, 1, no.8

XV/146 ‘Hudba na Národopisné výstavě’ [Music at the Ethnographical Exhibition], LN (10 and 14 June 1894); FD, 1, no.10; Eng. trans. in Štědroň (1955), 78–9 [extract]; Ger. trans. in Spies (1959), 51–3

XV/147 ‘Nový proud v theorii hudební’ [A new stream in musical theory], LN (4, 6, 11, and 16 Nov 1894); TD, 1, 177–88

XV/148 ‘Pořad Moravských lidových slavností na Národopisné výstavě českoslovanské v Praze ve dnech 15. až 18. srpna 1895’ [Programme of Moravian folk festivities in Prague 15–18 Aug 1895 at the Czecho–Slavonic Ethnographical Exhibition] [printed programme]

XV/149 ‘Piková dáma’ [The Queen of Spades], LN (21 Jan 1896); LD, 1, no.131; Eng. trans. in Zemanová (1989), 176–9; Ger. trans. in Spies (1959), 157–9; Straková (1979), 73–6

XV/150 ‘Několik slov z cesty prázdninové’ [A few words from a holiday trip], LN (2, 15 Aug and 8 Sept 1896); LD, 1, no.132; Eng. trans. in Tausky (1982), 123–32 (abridged); Zemanová (1989), 203–15; Ger. trans. in Spies (1959), 123–7 (abridged); Straková (1979), 76–85

XV/151 O skladbě souzvukův a jejich spojův [The composition of chords and their connections] (Brno, 1896, 2/1897); TD, 1, 189–350

XV/152 ‘České proudy hudební: [1] ... Dr Antonína Dvořáka “Vodník”’ [Czech musical currents I: ...Dr Antonín Dvořák’s The Water Goblin], Hlídka, vol.14 (1897), 285–92; LD, 1, no.133

XV/153 ‘České proudy hudební II: ... Dr Antonína Dvořáka “Polednice”’ [Czech musical currents II: ... Dr Antonín Dvořák’s The Noonday Witch], Hlídka, vol.14 (1897), 454–9; LD, 1, no.134

XV/154 ‘České proudy hudební III: ... Dr Antonína Dvořáka “Zlatý kolovrat” – Zd. Fibich – “Hedy”’ [Czech musical currents III: ... Dr Antonín Dvořák’s The Golden Spinning Wheel; Zdeněk Fibich: Hedy], Hlídka, vol.14 (1897), 594–604; LD, 1, no.135; Eng. trans. in Firkušný (1993), 269–76 [Dvořák]

XV/155 ‘Bohuš Fialka’, MO (2 Dec 1898); LD, 1, no.136

XV/156 ‘České proudy hudební ...: Holoubek, symfonická báseň pro velký orchestr, složil Antonín Dvořák’ [Czech musical currents ...: The Wild Dove, symphonic poem for large orchestra composed by Antonín Dvořák], Hlídka, vol.15 (1898), 277–82; LD, 1, no.137; Eng. trans. in Firkušný (1993), 263–9

XV/157 ‘České proudy hudební ...: Te Deum Laudamus. Auctore Ludovice Holain’ [Czech musical currents ...: Ludvík Holain’s Te Deum], Hlídka, vol.15 (1898), 906–8; LD, 1, no.138

XV/158 ‘Osada “Pod Hukvaldy”’ [The settlement ‘Pod Hukvaldy’], Učitel (Brno, 1898), 5–16; FD, 1, no.11

XV/159 ‘Národní divadlo (Enquêta o brněnském divadle)’ [National Theatre (the questionnaire about the Brno theatre)], Moravská revue (15 March 1899); LD, 1, no.139; Eng. trans. in Zemanová (1989), 36–8; Ger. trans. in Straková (1979), 85–6

XV/160 ‘České proudy hudební ...: Šárka: Zpěvohra o třech jednáních. Hudbu složil Zdenko Fibich’ [Czech musical currents ...: Šárka: opera in three acts, words by Anežka Schulzová, music by Zdenko Fibich], Hlídka, vol.16 (1899), 36–41; LD, 1, no.140

XV/161 ‘České proudy hudební ...: Psohlavci K. Kovařovice, Vzkříšení Lazara – Perosi, Missa iubilaei solemnis Francisci Josephi I – J. Foerster’ [Czech musical currents ...: Karel Kovařovic’s The Dogheads; Lorenzo Perosi’s La risurezzione de Lazaro; Josef Förster’s Missa iubilaei solemnis Francisci Josephi I], Hlídka, vol.16 (1899), 362–8; LD, 1, no.141

XV/162 Návod pro vyučování zpěvu [Singing teaching manual] (Brno, 1899); ed. in SKV H/2

XV/163 ‘O hudební stránce národních písní moravských’ [On the musical side of Moravian folksongs] (Prague, [1899]–1901) [introduction to XIII/3]; FD, 1, no.13

XV/164 ‘Některé lašské tance’ [Some Lachian dances], ČMm, vol.1 (1901), 119–23, vol.2 (1902), 68–71; FD, 1, no.14

XV/165 ‘Ruský koncert na paměť N.V. Gogola a V.A. Žukovského’ [Russian concert in memory of Gogol and Zhukovsky], Hlas (25 Nov 1902); LD, 1, no.142

XV/166 ‘Pavla Křížkovského význam v lidové hudbě moravské a v české hudbě vůbec’ [The importance of Pavel Křížkovský in Moravian folk music and in Czech music as a whole], Český lid, vol.11 (1902), 257–63; FD, 1, no.15; Eng. trans. in Štědroň (1955), 24–5 [extract]; Ger. trans. in Straková (1979), 87–9 [abridged]

XV/167 ‘Utonulá Pavla Křížkovského’ [Pavel Křížkovský’s Drowned], Hlídka, vol.19 (1902), 270–75; LD, 1, no.143

XV/168 ‘O významu Varhanické školy v Brně’ [The importance of the Organ School in Brno], MO (10 April 1903); LD, 1, no.144; Ger. trans. in Straková (1979), 52–4

XV/169 ‘Nápěvy dětské mluvy’ [The speech–melodies of children], Český lid, vol.13 (1903–4), 18–21; serialized up to vol.16 (1906–7), 19–22; LD, 1, no.151

XV/170 ‘Kterak se projevuje hudební nadání?’ [How is musical talent manifested?], MO (17 July 1903); LD, 1, no.145; Eng. trans. in Zemanová (1989), 76–9; Ger. trans. in Straková (1979), 49–52

XV/171 ‘Příští sezóna českého Národního divadla v Brně’ [The next season of the Czech National Theatre in Brno], MO (23 Aug 1903); LD, 1, no.146

XV/172 ‘Nápěvky naší mluvy vynikající zvláštní dramatičností’ [Melodies of our speech of outstanding dramatic qualities], ČMm, vol.3 (1903), 105–12; LD, 1, no.147; Ger. trans. in Straková (1979), 95 [extract]

XV/173 ‘Moje Luhačovice’ [My Luhačovice], Hlídka, vol.20 (1903), 836–44; LD, 1, no.148; Ger. trans. in Straková (1979), 95–6 [extract]; Eng. trans. in Beckerman (2003), 227–38

XV/174 ‘O významu Její pastorkyně’ [On the significance of Její pastorkyňa], Brno, 21 Jan 1904 [programme of Brno première]; LD, 1, no.149; Eng. trans. in JODA, JP28

XV/175 [Response to the editor, Jeviště], Jeviště, vol.1/3 (1904), 106–7; LD, 1, no.150; Eng. trans. in Štědroň (1955), 105–6; JODA, JP34; Ger. trans. in ZGJ, 87

XV/176 ‘Provolání ve prospěch šíření hudební vzdělanosti mezi lidem’ [Announcement in aid of extending musical education among the people], Národní listy (26 Jan 1905); LD, 1, no.152

XV/177 ‘Proč máme tolik polek a valčíků?’ [Why do we have so many polkas and waltzes?], LN (9 April 1905); FD, 1, no.16; Eng. trans. in Tausky (1982), 56

XV/178 ‘Fenomenální zjev umělecký je Jelizaveta Alexandrovna Ščedrovičová’ [The artistic phenomenon that is Alexandrovna Ščedrovičová], MO (11 April 1905); LD, 1, no.153

XV/179 ‘Ustálení českého divadelního orchestru v Brně’ [Making the Czech theatre orchestra in Brno permanent], LN (21 April 1905); LD, 1, no.154

XV/180 ‘Loni a letos: hudební studie’ [Last year and this: a musical study], Hlídka, vol.22/3 (1905), 201–11; LD, 1, no.155; Eng. trans. in Beckerman (2003), 240–53

XV/181 ‘Dr Antonín Dvořák a Brno’ [Dr Antonín Dvořák and Brno], LN (27 April 1906); LD, 1, no.156; Eng. trans. in Zemanová (1989), 180–82; Ger. trans. in Spies (1959), 31–3; Straková (1979), 45–6

XV/182 ‘Večer s Leošem Janáčkem’ [An evening with Leoš Janáček], Dalibor, vol.28/28–9 (1906), 227 [interview]; LD, 1, —; Eng. trans. in Štědroň (1955), 74–5 [extract]

XV/183 ‘Sbíráme českou národní píseň na Moravě a ve Slezsku’ [Collecting Czech folksong in Moravia and Silesia], Dalibor, vol.29/2 (1906); serialized up to vol.29/14 (1906), 113–14; FD, 1, no.183; FD, 1, no.24; FD, 1, no. 17

XV/184 ‘Úvod k Její pastorkyni’ [Introduction to Jenůfa], Dalibor, vol.29/6 (1906), 49; LD, 1, no.157

XV/185 ‘Rozhraní mluvy a zpěvu’ [The border between speech and song], Hlídka, vol.23/4 (1906), 241–53; LD, 1, no.158; Eng. trans. in Štědroň (1955), 91–3 [extract]

XV/186 ‘Myšlenky cestou’ [Thoughts while travelling], Dalibor, vol.39/24 (1907), 189–90; FD, 1, no.18

XV/187 ‘Vzdělání varhaníků’ [The education of organists], Opavský týdeník (6 July 1907); LD, 1, no.159; Ger. trans. in Straková (1979), 111–13

XV/188 ‘Jablunkovské Mosty’ [Jablunkov Mosty], LN (24 Dec 1907); LD, 1, no.160; Ger. trans. in Spies (1959), 114–16

XV/189 ‘Alžběta’, Lidová čítanka moravská, ed. F. Bílý (Telč, 1907), 341–7; LD, 1, no.161; Eng. trans. in Procházková and Volný (1995), 94–101; Ger. trans. in Straková (1979), 99–107

XV/190 ‘Moderní harmonická hudba’ [Modern harmonic music], Hlídka, vol.24 (1907), 6–14; TD, 1, 351–60

XV/191 ‘Můj názor o sčasování (rytmu)’ [My opinion about rhythm], Hlídka, vol.24 (1907), 416–25, 520–33, 598–616, 677–87, 757–62; TD, 1, 361–422

XV/192 ‘Z praktické části o sčasování (rytmu)’ [From the practical parts of rhythm], Dalibor, vol.30 (1908), 157–9; TD, 1, 423–8

XV/193 ‘Vzpomínka na Bedřicha Smetanu’ [A memoir of Bedřich Smetana], Dalibor, vol.31 1909), 258; LD, 1, no.162; Eng. trans. in Štědroň (1955), 27; Zemanová (1989), 183–4; Ger. trans. in Straková (1979), 42–3

XV/194 ‘Světla jitřní’ [Early morning lights], LN (24 Dec 1909); LD, 1, no.163; Eng. trans. in Tausky (1982), 35–9; Ger. trans. in Spies (1959), 7–9; Straková (1979), 107–11

XV/195 ‘Podskalácký příklad’ [The Podskalí case], Hlídka, vol.26 (1909), 89–92; LD, 1, no.164; Eng. trans. in Beckerman (2003), 254–7

XV/196 ‘Rytmika (sčasování) v lidové písni’ [Rhythm in folksong], Hlídka, vol.26 (1909), 965–71, 1037–42; FD, 1, no.19

XV/197 ‘Váha reálních motivů’ [The weight of motifs], Dalibor, vol.32 (1910), 227–8; TD, 1, 429–34

XV/198 ‘Letnice 1910 v Praze’ [Whitsun 1910 in Prague], Hlídka, vol.27 (1910), 555–60, 640–44; LD, 1, no.165; Eng. trans. in Beckerman (2003), 259–70

XV/199 ‘Bez bubnů’ [Without drums], LN (16 April 1911); LD, 1, no.166; Eng. trans. in Tausky (1982), 32–4; Ger. trans. in Spies (1959), 5–6; Straková (1979), 20–22

XV/200 ‘Pod šable: tanec mečový na naší domácí půdě’ [Under the sword: a sword dance on our native soil], LN (29 April 1911); FD, 1, no.20

XV/201 ‘Za Antonínem Dvořákem’ [In memory of Antonín Dvořák], HR, vol.4 (1911), 432–3; LD, 1, no.167; Eng. trans. in Zemanová (1989), 185–7; Ger. trans. in Straková (1979), 44–6

XV/202 Nauka o harmonii [Harmony manual] (Brno, 1911); enlarged, 1912–13, 2/1920 as Úplná nauka o harmonii [Complete harmony manual]; TD, 1, 459–662; Ger. trans. in K. Lücker Leoš Janáček:Vollständige Harmonielehre (Berlin, 2011) [with commentary]

XV/203 ‘Píseň’ [Song], Hlídka, vol.28 (1911), 774–80, 839–49; LD, 1, no.168

XV/204 ‘Jaro’ [Spring], LN (6 April 1912); LD, 1, no.169; Eng. trans. in Tausky (1982), 77–80; Ger. trans. in Spies (1959), 83–6

XV/205 ‘Obrátit!’ [Turn back!], Památník na slavu padesátileté činnosti spolku [Orlice] 1865–1912, ed. A Bachura (Prostějov, 1912), 104–6; LD, 1, no.170

XV/206 ‘Šumařovo dítě: několik poznámek o instrumentaci k prvému provedení na koncertě České filharmonie’ [The Fiddler’s Child: Some remarks about the instrumentation on its first performance at a concert of Czech Philharmonic], HR, vol.7 (1914), 203–5; LD, 1, no.171; Eng. trans. in Zemanová (1989), 80–83; Ger. trans. in Straková (1979), 113–15

XV/207 ‘Z knižní nálady’ [From a bookish mood], Moravskoslezská revue, vol.11/1 (1914), 13–19; LD, 1, no.172

XV/208 ‘Glosy k Dvořákově “neoriginalitě myšlenkové”’ [Notes on Dvořák’s lack of ‘intellectual originality’], Hlídka, vol.32 (1915), 36–41; LD, 1, no.173

XV/209 ‘Okolo Její pastorkyně’ [About Jenůfa], HR, vol.9 (1916), 245–9; LD, 1, no.174; Eng. trans. in Zemanová (1989), 84–91; Ger. trans. in Straková (1979), 115–18 [abridged]

XV/210 ‘O průběhu duševní práce skladatelské’ [On the course of the composer’s mental activity], Hlídka, vol.33 (1916), 3–8, 33–8, 189–96; TD, 1, 435–58

XV/211 ‘Čtvrt hodinky rozhovoru se skladatelem Její pastorkyně’ [A quarter-of-an-hour talk with the composer of Jenůfa], ?Venkov, (?1916–17) [interview with Josef Pachmayer]; LD, 1, no.175

XV/212 ‘Kolébka české prapísně lidové’ [The cradle of the earliest Czech folksong], Národ, vol.1 (1917), 226; FD, 1, no.21

XV/213 ‘Úvod k Její pastorkyni – Žárlivost’ [Prelude to JenůfaJealousy], 13 Oct 1917 [concert programme]; LD, 1, no.176; draft in Štědroň (1968), 52, fn. 13; Eng. trans. of draft in Štědroň (1968), 52–3; Ger. trans. of draft in ZGJ, 29–30

XV/214 ‘Výlety páně Broučkovy, jeden do měsíce, druhý do XV. století’ [The Excursions of Mr Brouček, one to the moon, the second to the 15th century], LN (23 Dec 1917); LD, 1, no.177; Eng. trans. in Tausky (1982), 142–5 [abridged]; Zemanová (1989), 92–6; Ger. trans. in Spies (1959), 39–41; Straková (1979), 119–21

XV/215 ‘Z pražského ovzduší: příspěvek k tónovým útvarům české řeči’ [From the atmosphere of Prague: a contribution to the melodic shapes of Czech speech], Hlídka, vol.34 (1917), 65–71, 151–6; LD, 1, no.178

XV/216 ‘Moravany, Morawaaan!’, LN (6 April 1918); LD, 1, no.179; Eng. trans. in Zemanová (1989), 39–44; Ger. trans. in Spies (1959), 116–20

XV/217 ‘Plnost výrazová’ [Fullness of expression], Moravskoslezská revue, vol.12 (1918), 259–67; LD, 1, no.180

XV/218 ‘Nedočkal se’ [He didn’t live to see], LN (3 June 1919); FD, 1, no.22; Ger. trans. in Spies (1959), 54

XV/219 ‘Ticho’ [Silence], LN (26 Aug 1919); LD, 1, no.181; Eng. trans. in Tausky (1982), 72–6; Ger. trans. in Spies (1959), 27–30; Straková (1979), 124–7

XV/220 ‘Úvodní slovo k otevření konservatoře hudby v Brně’ [Introductory words on the opening of the Conservatory of Music in Brno], LN (7 Oct 1919); LD, 1, no.182; Eng. trans. in Tausky (1982), 46–9 [abridged]; Ger. trans. in Spies (1959), 159–2; Straková (1979), 121–4

XV/221 ‘K dějinám vysokého školství hudebního na Moravě’ [On the history of higher musical schooling in Moravia], Národní listy (27 Feb 1920); LD, 1, no.183

XV/222 ‘Výlety páně Broučkovy’ [The Excursions of Mr Brouček], MO (19 March 1920); also HR, vol.13 (1920), 177–9; LD, 1, no.184

XV/223 ‘Česká legie’ [The Czech Legion], 14 Nov 1920 [concert programme]; LD, 1, no.185

XV/224 ‘Otázky’ [Questions], Čas, vol.30 (1920), 131; LD, 1, no.186

XV/225 ‘Rada’ [A piece of advice], Prázdniny: poslání k studentstvu na rok 1920, no.3–4, pp.13–14; LD, 1, no.187

XV/226 with adv. [Adolf Veselý]: ‘Nové dílo Leoše Janáčka’ [Leoš Janáček’s new work] (15 May 1921) [interview]; LD, 1, no. —; Eng. trans. in JODA, LB7 extract

XV/227 ‘Stehlíček’ [The little goldfinch], LN (1 June 1921); LD, 1, no.188; Eng. trans. in Tausky (1982), 97–100; Ger. trans. in Spies (1959), 86–9; Straková (1979), 135–7

XV/228 ‘Z přednášky prof. Torraca’ [From Prof. Torraca’s lecture], LN (8 June 1921); LD, 1, no.189; Eng. trans. in Tausky (1982), 57–8

XV/229 ‘Rabindranath Tagore’, LN (22 June 1921); LD, 1, no.190; Ger. trans. in Spies (1959), 72–5; Straková (1979), 130–31

XV/230 ‘Z Vysokých Tater’ [From the high Tatras], LN (18 July 1921); LD, 1, no.191; Ger. trans. in Spies (1959), 147–9 [without addendum]; Straková (1979), 39–42 [with addendum]

XV/231 ‘Rytá slova’ [Engraved words], LN (22 Sept 1921); LD, 1, no.192; Ger. trans. in Spies (1959), 67–72

XV/232 ‘Adolf Schreiber’, LN (25 Sept 1921); LD, 1, no.193; Ger. trans. in Spies (1959), 162–4; Straková (1979), 132–3

XV/233 ‘Volný čas’ [Spare time], Národní listy (25 Dec 1921); LD, 1, no.194; Eng. trans. in Zemanová (1989), 45–7; Ger. trans. in Straková (1979), 133–5

XV/234 ‘Dřevo’ [Wood], Niva, vol.9/1 (1921), 2–3; LD, 1, no.195; Ger. trans. in Straková (1979), 127–9

XV/235 ‘Otázky a odpovědi: Dru A. Kolískovi’ [Questions and answers to Dr Alois Kolísek], LN (5 Feb 1922); FD, 1, no.23; Ger. trans. in Spies (1959), 55–7

XV/236 ‘H. Ch.’ [Hipp’s chronoscope], Prager Presse (12 March 1922); LD, 1, no.196

XV/237 ‘Počátek románu’ [The beginning of a romance], LN (17 March 1922); LD, 1, no.197; Eng. trans. in Tausky (1982), 49–51; Ger. trans. in Spies (1959), 59–60

XV/238 ‘Ty lásky! (Jarní etuda)’ [These loves! (A spring étude)], LN (16 April 1922); LD, 1, no.198; Eng. trans. in Tausky (1982), 81–5; Ger. trans. in Spies (1959), 89–93

XV/239 ‘Milieu’, LN (11 May 1922); LD, 1, no.199; Ger. trans. in Spies (1959), 93–5

XV/240 ‘A la polka’, LN (13 June 1922); LD, 1, no.200; Ger. trans. in Spies (1959), 164–6

XV/241 ‘Tři’ [Three], LN (24 June 1922); LD, 1, no.201; Eng. trans. in Tausky (1982), 86–90 [abridged]; Ger. trans. in Spies (1959), 95–9

XV/242 ‘Studánky’ [Springs], LN (8 Sept 1922); LD, 1, no.202; Eng. trans. in Tausky (1982), 64–72; Ger. trans. in Spies (1959), 19–27; Straková (1979), 56–61

XV/243 ‘Kohoutek’ [The cockerel], LN (20 Oct 1922); LD, 1, no.203; Eng. trans. in Tausky (1982), 91–5; Ger. trans. in Spies (1959), 99–102; Straková (1979), 138–41

XV/244 ‘Sedm havranů’ [Seven ravens], LN (30 Nov 1922); LD, 1, no.204; Eng. trans. in Tausky (1982), 101–4; Ger. trans. in Spies (1959), 102–5

XV/245 ‘Starosta Smolik (Stolové společnosti X + Y = 0)’ [Mayor Smolik (of the table companions X + Y = 0)], LN (18 March 1923); LD, 1, no.205; Ger. trans. in Spies (1959), 10–18; Straková (1979), 146–52

XV/246 ‘Ústa’ [The mouth], LN (5 July 1923); LD, 1, no.206; Ger. trans. in Spies (1959), 105–9

XV/247 ‘Našemu vojáku’ [To our army], Československá armádě pozdravy a vzkazy, ed. R. Tschorn and R. Wolf (Prague, 1923), 6; LD, 1, no.207; repr. in SKV D/7, xii (with Ger. and Eng. trans. in xiv and xvi)

XV/248 ‘Všudybyl’ [Ubiquitous fellow], Liptovský kras (Lipovský sv. Mikuláš, 1923); LD, 1, no.208

XV/249 ‘Měl výtečný sluch’ [He had an excellent ear], LN (8 Jan 1924); LD, 1, no.209; Eng. trans. in Zemanová (1989), 48–50; Ger. trans. in Spies (1959), 61–2; Straková (1979), 152–3

XV/250 ‘Tvůrčí mysl: Úvodní slovo k oslavám 100letých narozenin B. Smetany, pořadaným Národním divadlem v Brně, 6. února 1924 [A creative spirit: introductory words to the celebrations of the 100th anniversary of Smetana’s birth organized by the Brno National Theatre], Divadelní šepty (1 March 1924); LN (2 March 1924); LD, 1, no.210; Eng. trans. in Zemanová (1989), 188–91; Ger. trans. in Spies (1959), 164–9; Straková (1979), 153–5

XV/251 ‘Listopad 1923’ [November 1923], Nový život: revue literární a umělecká vol.1 (March, 1924), 16–18, 16–18; LD, 1, no.211

XV/252 ‘Špačíček pán’ [Young Mr Starling], LN (1 May 1924); LD, 1, no.212; Eng. trans. in Tausky (1982), 95–7; Ger. trans. in Spies (1959), 109–10

XV/253 ‘Berlín: památce Vl. Tusara’ [Berlin: in memory of Vlastimil Tusar], LN (15 May 1924); LD, 1, no.213; Eng. trans. in Zemanová (1989), 216–21; Ger. trans. in Spies (1959), 134–7; Straková (1979), 159–62

XV/254 ‘The Seventy Years Old’, New York Times (13 July 1924) [interview]; LD, 1, no.214

XV/255 ‘Smetanova dcera’ [Smetana’s daughter], LN (3 Oct 1924); LD, 1, no.215; Eng. trans. in Tausky (1982), 59–63; Zemanová (1989), 51–7; Ger. trans. in Spies (1959), 75–80; Straková (1979), 156–9

XV/256 ‘Zcestí’ [On the wrong path], Listy Hudební matice, vol.4 (1924), 1–4; LD, 1, no.216; Eng. trans. in Zemanová (1989), 97–102

XV/257 ‘U Harabiša’ [At Harabiš’s], LN (30 Nov 1924); LD, 1, no.217; Eng. trans. in Tausky (1982), 31–2; Ger. trans. in Spies (1959), 18–19; Straková (1979), 55

XV/258–73 Leoš Janáček: Pohled do života i díla [Leoš Janáček: a look at the life and work], ed. A. Veselý (Prague, 1924); incl. XV/258 ‘Pod Ukvaly’ [At the foot of Hukvaldy]; repr. in Straková (1988), 226–8; Ger. trans. in Straková (1979), 19–20; XV/259 ‘Brno’; Eng. trans. in Štědroň (1955), 22–3 [extract]; Ger. trans. in Straková (1979), 22–7, 35 [extracts]; XV/260 ‘Praha’ [Prague]; Eng. trans. in Štědroň (1955), 26 [extract]; XV/261 ‘Putování po Moravě’ [Wandering around Moravia]; Ger. trans. in Straková (1979), 33 [extract]; XV/262 ‘Spolupracovníci a přátelé’ [Colleagues and friends]; Ger. trans. in Straková (1979), 43–4; XV/263 ‘Putování po Čechách’ [Wandering around Bohemia]; XV/264 ‘Cesta do Německa’ [Journey to Germany]; Ger. trans. in Straková (1979), 34–5; XV/265 ‘Královská konservatoř v Lipsku’ [The Royal Conservatory in Leipzig]; Ger. trans. in Straková (1979), 36; XV/266 ‘Vídeň’ [Vienna]; Ger. trans. in Straková (1979), 37 [abridged]; XV/267 ‘Cesta do Ruska’ [Journey to Russia]; Ger. trans. in Straková (1979), 37–8; XV/268 ‘Cesta do Polska’ [Journey to Poland]; repr. in Straková (1988), 238; XV/269 ‘Na Slovensku’ [To Slovakia]; Ger. trans. in Straková (1979), 39; XV/270 ‘Theoretická studia’ [Theoretical studies]; Ger. trans. in Straková (1979), 49; XV/271 ‘Pobyt v lázních’ [Staying at spas]; Ger. trans. in Straková (1979), 47–8; XV/272 ‘Tvorba’ [Works]; Ger. trans. in Straková (1979), 63–9; XV/273 ‘Význačná data života’ [Important dates]

XV/274 ‘Spondeo ac polliceor!’, Slavnostní promoce Leoše Janáčka, čestného doktora Filosofické fakulty Masarykovy university v Brně 28.1. 1925 [Degree ceremony of Leoš Janáček, honorary doctor of the Faculty of Arts of the Masaryk University in Brno 28 Jan 1925] (Brno, 1925), 16–18; LD, 1, no.218; Ger. trans. in SPFFBU, H4 (1969), 121–5; Straková (1979), 162–4

XV/275 ‘V roku 1874’ [In the year 1874], Hudební besídka, vol.1/7 (1925), 107; LD, 1, no.219; Eng. trans. in Zemanová (1989), 103–4; Ger. trans. in Straková (1979), 32–3

XV/276 ‘Na pravé stopě’ [On the right track], LN (7 April 1925); LD, 1, no.220; Ger. trans. in Spies (1959), 62–7; Straková (1979), 141–6

XV/277 ‘Obzor’ [Horizon], Národní listy (25 June 1925); LD, 1, no.221

XV/278 ‘Když ptáčci jdou spat’ [When the little birds go to sleep], LN (26 July 1925); LD, 1, no.222; Eng. trans. in Tausky (1982), 104–7; Ger. trans. in Spies (1959), 111–13

XV/279 ‘Josef Zubatý’, LN (24 Oct 1925); LD, 1, no.223; Ger. trans. in Spies (1959), 80–82

XV/280 ‘O pomník Pavlu Křížkovskému’ [On the statue for Pavel Křížkovský], LN (30 Oct 1925); LD, 1, no.224; Ger. trans. in Spies (1959), 121

XV/281 ‘“Basta!” Město a místo třetího Festivalu soudobé hudby komorní’ [‘Enough!’ Town and place of the Third ISCM Festival of Chamber Music], LN (8 Nov 1925); LD, 1, no.225; Eng. trans. in Tausky (1982), 132–5 [abridged]; Zemanová (1989), 222–8; Ger. trans. in Spies (1959), 137–42; Straková (1979), 167–71

XV/282 [Janáček’s speech at the London Czecho–Slavonic Club in England, 2 May 1926], Listy Hudební matice, vol.5 (1926), 260–1; LD, 1, no.226; Eng. trans. in Fischmann (1986), 121–2 [abridged]; Zemanová (1989), 58–60; Ger. trans. in Straková (1979), 172–3

XV/283 [Janáček’s speech at the celebration arranged by the London School of Slavonic Studies, 4 May 1926], Listy Hudební matice, vol.5 (1926), 264–5; LD, 1, no.227; Eng. trans. in Fischmann (1986), 122–4; Zemanová (1989), 60–61; Ger. trans. in Straková (1979), 173–4

XV/284 ‘Moje wspomenienia o Polsce’ [My reminiscences of Poland], Muzyka, vol.3 (1926), 201–2; LD, 1, no.228

XV/285 ‘Moře, země’ [Sea, land], LN (13 June 1926); LD, 1, no.220; Eng. trans. in Tausky (1982), 113–18; Fischmann (1986), 128–31, 136–7; Zemanová (1989), 229–34; Ger. trans. in Spies (1959), 142–7; Straková (1979), 174–8

XV/286 ‘Nota (Na paměť Fr. Bartoše)’ [A note (in memory of František Bartoš)], LN (28 July 1926); FD, 1, no.26; Ger. trans. in Spies (1959), 170–76

XV/287 [Janáček’s speech at the unveiling of the memorial plaque on the Hukvaldy school, 11 July 1926], Hudební besídka, vol.3/2 (1926), 20–22; LD, 1, no.230; Ger. trans. in Straková (1979), 178–9

XV/288 ‘O tónině v lidové písni’ [On key in folksong], Národopisný věstník českoslovanský, vol.18 (1926), 40ff.; FD, 1, no.25

XV/289 ‘Toulky’ [Rambles], LN (16 Jan 1927); LD, 1, no.231; Eng. trans. in Tausky (1982), 138–41 [abridged]; Ger. trans. in Spies (1959), 127–33

XV/290 ‘K čemu se přiznávám’ [What I admit], LN (13 Feb 1927); LD, 1, no.232; Eng. trans. in Zemanová (1989), 105–7; Ger. trans. in Spies (1959), 41–3; Straková (1979), 190–92

XV/291 [Answer to ‘Was uns Beethoven heute bedeutet?’], Vossische Zeitung (26 March 1927); in Cz. as ‘Odpověď na anketu “O vlivu Beethovena na hudební modernu”’ [Answer to the questionnaire ‘About the influence of Beethoven on musical modernism’], LN (29 March 1927); LD, 1, no.233; Eng. trans. in Štědroň (1955), 34 [extract]; in Zemanová (1989), 192–3 [extract]; Ger. trans. in Straková (1979), 185–6

XV/292 ‘Moje děvče z Tater’ [My girl from the Tatras], LN (1 April 1927); LD, 1, no.234; Eng. trans. in Tausky (1982), 40; Ger. trans. in Spies (1959), 33; Straková (1979), 54–5

XV/293 ‘Concertino’ [in Ger.], Pult und Taktstock, vol.4 (1927), 63–4; LD, 1, no.235; Eng. trans. in Vogel (1981), 305–6; Zemanová (1989), 108–10

XV/294 ‘Schytali je!’ [They caught them!], LN (3 July 1927); LD, 1, no.236; Eng. trans. in Tausky (1982), 108–9; Ger. trans. in Spies (1959), 149–50

XV/295 ‘Už jsou pod střechou’ [They’ve already got a roof over their heads], LN (31 July 1927); LD, 1, no.237; Ger. trans. in Spies (1959), 152–4

XV/296 ‘Pro pár jablek?’ [For a few apples?], LN (4 Sept 1927); LD, 1, no.238; Eng. trans. in Tausky (1982), 110–12 [abridged]; Ger. trans. in Spies (1959), 33–7

XV/297 ‘Glagolskaja missa’ [The Glagolitic Mass], LN (27 Nov 1927); LD, 1, no.239; Eng. trans. in Tausky (1982), 52–5; Fischmann (1986), 153–4; Zemanová (1989), 111–14; Wingfield (1992), 116–19; Ger. trans. in Spies (1959), 43–6; Straková (1979), 179–82

XV/298 ‘Meine Stadt’, Prager Presse (4 Dec 1927); in Cz. as ‘Moje město’ [My town], LN (24 Dec 1927); LD, 1, no.240; Eng. trans. in Tausky (1982), 41–3

XV/299 [Answer to ‘Was schenken Sie zu Weihnachten?’], Prager Presse (6 Dec 1927); LD, 1, no.241

XV/300 ‘Cesta do vědomí’ [A journey into consciousness], Památce E. Babáka (Brno, 1927), 85–8; TD, 1, 663–6

XV/301 ‘O tom, co je nejtvrdšího v lidové písni’ [On the most durable thing in folksong], Český lid, vol.27 (1927), 161–74; FD, 1, no.27

XV/302 [Answer to ‘Wie denken Sie über die zeitgenössische Oper?’] Blätter der Staatsoper und der Städtischen Oper (Berlin, 1927); LD, 1, no.242; Eng. trans. in Zemanová (1989), 125–7

XV/303 ‘Smráká se’ [Dusk is falling], Venkov (5 Feb 1928); LD, 1, no.243; Eng. trans. in Zemanová (1989), 115–19 [abridged]; Ger. trans. in Straková (1979), 188–90

XV/304 ‘Když jsme byli v Luhačovicích’ [When we were in Luhačovice], Prácheňské noviny (8 Feb 1928); LD, 1, no.244

XV/305 [To the editor, Pestrý týden], Pestrý týden (1 March 1928); LD, 1, no.245; Eng. trans. in JODA, VM83

XV/306 ‘Dva interviewy’ [Two interviews], Literární svět (8 March 1928); LD, 1, no.246; Eng. trans. in Zemanová (1989), 120–24; Ger. trans. in Straková (1979), 182–4

XV/307 ‘Pepík a Jeník’ [Pepík and Jeník], LN (2 April 1928); LD, 1, no.247; Ger. trans. in Spies (1959), 151–2

XV/308 ‘Zvoní na poplach’ [Sounding the alarm], LN (20 May 1928); LD, 1, no.248; Eng. trans. in Tausky (1982), 136–7; Zemanová (1989), 194–6; Ger. trans. in Spies (1959), 154–5

XV/309 [Answer to ‘Fehlt der Welt eine Friedenshymne?’], 8 Uhr – Abendblatt der National–Zeitung (Berlin, 26 May 1928); LD, 1, no.249

XV/310 ‘Moje Lašsko’ [My Lašsko], LN (27 May 1928); LD, 1, no.250; Eng. trans. in Tausky (1982), 29–30; Fischmann (1986), 158–9 [abridged]; Ger. trans. in Spies (1959), 3–5; Straková (1979), 62–3

Unpublished During Janáček’s Lifetime

XV/311 ‘Nauka o harmonii’ [Harmony manual], 17–24 Aug 1883

XV/312 ‘36 nápěvů světských písní českého lidu z XVI. století’ [36 tunes of secular songs of the Czech people from the 16th century], ed. Otakar Hostinský (Prague, 1892), 1897; FD, 2, no.28

XV/313 ‘Jak napadly myšlenky’ [How ideas occurred], 1897; LD, 2, no.252; Eng. trans. in Zemanová (1989), 69–75; Ger. trans. in Straková (1979), 89–94

XV/314 ‘O užitých osnovách seřadných hudebních tanců na Moravě’ [On the plans used in the classification of musical dances in Moravia], ?1897; FD, 2, no.29

XV/315 ‘Březovská píseň’ [Březová song], 1899; FD, 2, no.30

XV/316 [Report on preparations for the Pan–Slavonic Exhibition in St Petersburg], 1903; LD, 2, no.51; see XV/386

XV/317 ‘Základy hudebního sčasování: výsledné souzvuky a jejich spoje’ [The bases of musical rhythm: resultant chords and their connections], 1905–10; TD, 2, 13–132

XV/318 ‘Remarks on the cycle Po zarostlém chodníčku’ [On the Overgrown Path], 6 June 1908; LD, 2, no.253

XV/319 [Remarks on František Sušil’s collection Moravské národní písně s nápěvy do textu (Moravian folksongs with tune inserted into the text)], 14 April – 8 May 1909; FD, 2, no.41

XV/320 [On the guidelines for the edition Folksong in Austria], 1909–1911; FD, 2, no.57

XV/321 ‘Ku sčasování v lidové písni’ [On rhythm in folksong], 1910; TD, 2, 133–40; FD, 2, no.70

XV/322 ‘Otázka v lidové písni, c.’ [Question in folksong, c.], ?1910; FD, 2, no.66; see XV/403

XV/323 ‘Národní píseň’ [Folksong], 1913?; FD, 2, no.34/1

XV/324 ‘70.000’ [The Seventy Thousand], 29 Jan 1914; LD, 2, no.254

XV/325 ‘Řeč a slovo’ [Speech and word], 8 March 1914, 26 June 1914; LD, 2, no.255

XV/326 ‘Typy české mluvy’ [Types of Czech speech], 1915; LD, 2, no.256

XV/327 ‘Leoš Janáček o sobě a Její pastorkyni’ [Leoš Janáček about himself and Jenůfa], 20 May 1916; LD, 2, no.259

XV/328 ‘Píseň a její vztah k hudbě’ [Song and its relationship to music], 29 Feb 1916; LD, 2, no.260

XV/329 ‘Zlatá ulička —Vlčí stopa’ [Golden LaneThe Wolf’s Track], 1916; LD, 2, no.261 and no. 262

XV/330 ‘K české národní písni na Moravě a ve Slezsku’ [On Czech folksong in Moravia and in Silesia], 1917; FD, 2, no.31

XV/331 ‘Myslná, psychologická podstata hudebních představ’ [The intellectual, psychological basis of musical imagination], 12 May 1917; TD, 2, 133–40

XV/332 ‘Sloh národní písně’ [The style of folksong], ?1917; FD, 2, no.34/2

XV/333 ‘Notes on Wagner’s Tristan und Isolde’, 1915? and 1917?; LD, 2, no.289

XV/334 ‘Režie’ [Stage direction], 1918; LD, 2, no.264; Eng. trans. in Beckerman (2003), 272–86 [ed. and abridged]

XV/335 ‘Čí dílem jsou lidové písně’ [Whose work are folksongs?], ?1920–26; LD, 2, no.36

XV/336 ‘La Mer’, 11 March 1921; LD, 2, no.292

XV/337 ‘Majstři pěvci’ [Die Meistersinger], 26 Sept 1921; LD, 2, no.269

XV/338 ‘Triptychon’ [Triptych], 26 Sept 1921; LD, 2, no.269

XV/339 ‘Sčasování v lidové písni’ [Rhythm in folksong], 1922; FD, 2, no.35

XV/340 ‘Naturalismus v umění’ [Naturalism in art], 25 Feb 1923; LD, 2, no.272; Eng. trans. in Beckerman (2003), 288–301 [ed.]

XV/341 ‘K notaci lidové písně (I)’ [On the notation of folksong (I)], FD, 2, no.37/1

XV/342 ‘Skladebná práce v lidové písni: Myšlení hudební lidového skladatele (II)’ [Compositional work in folksong: the musical thoughts of a folk composer (II)], FD, 2, no.37/2

XV/343 ‘O tóninách v lidových písniých (III)’ [On key in folksongs (III)]; FD, 2, no.37/3

XV/344 ‘O variantech národních písní (IV)’ [On variants of folksongs (IV)]; FD, ii. no.37/4

XV/345 ‘K prosodii lidové písně (V)’ [On prosody in folksong (V)]; FD, 2, no.37/5

XV/346 ‘Nápěvky mluvy’ [Speech–melodies], ?1923; LD, 2, no.274

XV/347a ‘Poznámky a odpovědi’ [Remarks and answers (Nejedlý’s remarks and Janáček’s answers on the collection Moravské písně milostné)]; FD, 2, no.38

XV/348 ‘Frankfurtský festival’ [The Frankfurt Festival]; ISCM Festival in Frankfurt am Main, 29 June–4 July 1927; LD, 2, no.276

XV/349 [Working version of the Introduction to the collection Moravské písně milostné)]; FD, 2, no.39, a, b, c

XV/350 [Remarks on the prosody of folksong]; FD, 2, no.46

XV/351 ‘Úvodem [ke sbírce Moravské písně milostné]’ [Introduction (to the collection Moravské písně milostné)]; FD, 2, no.40

XV/352 ‘Cestou k mrtvému domu’ [On the way to the house of the dead], Aug 1928; LD, 2, no.277, p.220; Eng. trans. in JODA, ZD39

XV/353 ‘V zahrádce u mé chaloupky’ [In my cottage garden], Aug 1928; LD, 2, no.277, p.221

XV/354 ‘Vidina umělcova: poznámka skladatelova’ [The artist’s vision: a composer’s comment], Aug 1928; LD, 2, no.277

XV/355 ‘Pinkava to byla’ [It was the finch], no earlier than 1915; LD, 2, no.279

XV/356 ‘Prvky typů české mluvy’ [Elements of types of Czech speech], 1915; LD, 2, no.256

XV/357 ‘Světci na tom pražském mostě’ [Saints on the Prague bridge]; LD, 2, no.280

Lectures and Papers

XV/358 [Report on the preparations for the Ethnographical Czechoslavonic Exhibition in Prague], 17 June 1894; FD, 2, no. 49; see XV/386

XV/359 ‘Stupňování’ [Gradation], 1 Feb 1900; TD, 2, 1–12

XV/360 ‘Hudební teorie a skladba’ [Music theory and composition], 1907–18 [lecture notes]; TD, 2, 141–66

XV/361 ‘Nauka o sčasování a skladbě’ [The science of rhythm and composition], 1908; TD, 2, 383–412

XV/362 ‘Objektivní hodnota hudebního díla’ [The objective value of a musical work], [1915–16]; LD, 2, no.258

XV/363 ‘Formace hudební’ [Musical forms], 1915–17, 1918–19; LD, 2, no.297

XV/364 ‘Opera: náčrt přednášky’ [Opera: sketch of a lecture], 16–23 June 1919; LD, 2, no.265

XV/365 ‘Skladba [přednášky školní]’ [Composition: school lectures], 26 Oct 1919, 12 Nov 1919; TD, 2, 167–92

XV/366 ‘O hudbě národní – naší’ [On national music – ours]; FD, 2, no.32

XV/367 ‘Teorie nauk o harmonii’ [The theory of harmony teaching], 1919–20; 413–22

XV/368 ‘Vědomí a skladba’ [Consciousness and composition], 1919–20; TD, 2, 205–15

XV/369 ‘Fonetika pro I. a II. ročník’ [Phonetics for first- and second-year classes], 10 Feb 1920 [syllabus]; LD, 2, no.266

XV/370 ‘Fonetika I. II. ročník’ [Phonetics for first- and second-year classes], 1920; LD, 2, no.267

XV/371 ‘Systém věd pro poznání hudby’ [A system of the sciences for the understanding of music], ?1920; TD, 2, 193–204

XV/372 ‘O skladbě’ [On composition], 1920–21; TD, 2, 216–84, as ‘Absolutní hudba’ [Absolute music] and ‘Práce’ [Work]

XV/373 ‘Skladatel v práci’ [The composer at work], 27 April 1921 [lecture]; TD, 2, 285–92

XV/374 ‘Skladba’ [Composition], 17 Oct–7 Dec 1921; TD, 2, 293–348

XV/375 ‘Skladatel v práci’ [The composer at work], 27 April 1921; TD, 2, 285–91

XV/376 ‘O lidové písni’ [On folksong], 10 Feb 1922; FD, 2, no.33

XV/377 ‘Opera’, 10 May–3 June 1922; LD, 2, no.270

XV/378 ‘Opera vývoje schopna?’ [Is opera capable of development?], ?1922; LD, 2, no.271

XV/379 ‘Opera či činohra?’ [Opera or stage play?], 1922; LD, 2, no.271 (p.158ff.)

XV/380 ‘Přednášky na mistrovské škole’ [Lectures at the Master School], 11 Oct 1922–5 Jan 1923; TD, 2, 349–82

XV/381 ‘Co plyne z notace lidové hudby?’ [What results from the notation of folk speech?], 15 May 1928; LD, 2, no.278

Discovered Since 1997

XV/382 [Antonín Dvořák], 1886?; LD, 2, no.285

XV/383 Orchestr [plan for a professional orchestra in Brno], 1893–7?; LD, 2, no.284

XV/384 Requiem, 1893?; LD, 2, no.283

XV/385 ‘Notes on Berlioz’s Symphonie fantastique’, 1904; LD, 2, no.281

XV/386 [Professional drafts and applications before 1905]; FD, 2, nos.46–50

XV/387 [Professional drafts in connection with the Lidová písen v Rakousku [Folksong in Austria] agenda 1906–18]; FD, 2, nos.51–9

XV/388 Sonáta, 1908–9?; LD, 2, no.282

XV/389 Dr Otakar Hostinský – Josef Förster, 1908–10; LD, 2, no.287

XV/390 O popravišti na Dominikánském náměstí [The place of execution on the Dominican Square], 15 July 1910; LD, 2, no.28

XV/391 Zdeněk Nejedlý: Zpěvohry Smetanovy [Smetana’s operas], 1910; LD, 2, no.288

XV/392 Notes on Wagner’s Tristan und Isolde, 1915–17?; LD, 2, no.289

XV/393 ‘Držím se kořenů...’ [I cling to the roots], Český památník velikého roku [The Czech memorial volume of a great year] (Prague, 1918); LD, 2, no.290

XV/394 ‘Konzervatoř hudby v Brně’ [The Conservatory of Music in Brno], 1919; LD, 2, no.291

XV/395 [Professional drafts in connection with the Státní ústav pro lidovou písen (State Institute for folksong) agenda 1919–28]; FD, 2, no.60

XV/396 ‘Notes on the Musical and Stage Analysis of Smetana’s Operas’, 1923; LD, 2, no.293

XV/397 ‘Čpí to tu ztuchlinou zloby’ [It reeks of the mustiness of anger ], 1924 [reaction to a comment on his work by Josef Bartoš]; LD, 2, no.294

XV/398 ‘Z vlastního nitra růst, ...’ [To grow from within], 12 Feb 1925; LD, 2, no.295

XV/399 [Remarks on Ludvík Kuba’s collection Slovanstvo ve svyých zpěvech, IX. kniha, V. Díl (Slavdom in its Songs, book 9, part 5)]; FD, 2, no.42

XV/400 [Remarks on the collection by Ferdinand Tomek Slovenské písně z Uherskobrodska (Slovak songs from the Uherskobrodsko region)], 1925; FD, 2, no.43

XV/401 [Commentaries on folksong collections]; FD, 2, no.44

XV/402 Membra disjecta; LD, 2, no.296

XV/403 [Collections of texts: is folksong a ‘complication’ composition?; how suitable are existing collections?; which scholarly works], FD, 2, no.45

XV/404 Membra disjecta; LD, 2, no.296

XV/405 Membra disjecta; FD, 2, nos.61–9

Bibliography

    A: Catalogues, bibliographies, discographies, iconographies. B: Special periodical issues, collections of essays, conference reports. C: Correspondence. D: Memoirs. E: Life and works. F: Biographical and historical studies. G: Stylistic, analytical and aesthetic studies. H: Stage works. I: Vocal. J: Instrumental. K: Theoretical and pedagogical. L: Ethnographic aspects. M: Janáček as writer. N: Reception and performance. O: Edition problems

    A: Catalogues, bibliographies, discographies, iconographies
    • J. Racek, ed.: Obraz života a díla Leoš Janáček [A picture of Janáček’s life and works] (Brno, 1948) [incl. list of works (T. Straková and V. Veselý), 31–61; systematic bibliography (O. Fric), 62–88; iconography (J. Raab), 89–104]
    • B. Štědroň: Dílo Leoše Janáčka: abecední seznam Janáčkových skladeb a úprav [Janáček’s works: an alphabetical catalogue of Janáček’s compositions and arrangements] (Prague, 1959; Eng. trans., 1959, as The Work of Leoš Janáček)
    • W.D. Curtis: Leoš Janáček (Utica, NY, 1978) [discography]
    • J. Procházka: Hudební dílo Leoše Janáčka [Leoš Janáček’s musical works] (Frýdek-Místek, 1979)
    • N. Simeone: The First Editions of Leoš Janáček: a Bibliography (Tutzing, 1991)
    • N. Simeone, J. Tyrrell, and A. Němcová: Janáček’s Works: a Catalogue of the Music and Writings of Leoš Janáček (Oxford, 1997) [incl. further bibliography]
    • E. Drliková: Leoš Janáček: život a dílo v datech a obrazech/Chronology of his Life and Work (Brno, 2004, 2/2010)
    • S. Přibáňová and J. Zahrádka: Leoš Janáček ve fotografiích/Leoš Janáček in Photographs (Brno, 2008)
    • N. Simeone: The Janáček Compendium (Woodbridge, 2018) [forthcoming]
    • Leoš Janáček-Gesellschaft (Zürich): Janáček Lexicon [http://www.leos-janacek.org/]
    B: Special periodical issues, collections of essays, conference reports

    see sections H, K, and L for specialized conference reports

    • ‘Janáčkův sborník’ [Janáček volume], HRo, vol.1/3–4 (1924–5)
    • ‘K jubileu Leoše Janáčka’ [Janáček jubilee], Listy Hudební matice, vol.4/1–2 (1924–5)
    • ‘Janáčkovo číslo’ [Janáček number], HRo, vol.4/4–8 (1928)
    • J. Racek: Leoš Janáček: poznámky k tvůrčímu profilu [Observations towards a profile of Janáček as a creative artist] (Olomouc, 1936)
    • Tempo [Prague], vol.20 (1947–8), 235–52
    • V. Helfert: O Janáčkovi [About Janáček], ed. B. Štědroň (Prague, 1949) [collected essays and articles]
    • HRo, vol.7/14 (1954) [Janáček issue]
    • J. Racek and others, eds.: ‘K stému výročí narození Leoše Janáčka 1854–1954’ [The 100th anniversary of the birth of Leoš Janáček], Musikologie, vol.3 (1955)
    • HRo, vol.11/18 (1958) [Janáček issue]
    • Leoš Janáček a soudobá hudba: Brno 1958 [Janáček and contemporary music] [with Ger. summaries]
    • Leoš Janáček: sborník statí a studií [Collection of articles and studies] (Prague, 1959)
    • Leoš Janáček et musica europaea[: Brno III 1968]
    • Leoš Janáček-Gesellschaft: Mitteilungsblatt (1969–2011)
    • ‘Leoš Janáček: osobnost a dílo: sborník studií a dokumentů’ [Personality and works: collection of studies and documents], OM, vol.6/5–6 (1974)
    • HV, vol.15/4 (1978) [Janáček issue]
    • ‘Katedra hudební výchovy Pedagogické fakulty v Ostravě k 50. výročí smrti Leoše Janáčka dne 12. srpna 1928 v Ostravě’ [The music education department of the Education Faculty in Ostrava on the 50th anniversary of Janáček’s death on 12 August 1928 in Ostrava], Sborník prací Pedagogické fakulty v Ostravě, D14 (1978), 81–109 [studies, correspondence, newspaper articles]
    • OM, vol.10/5–6 (1978) [Janáček issue]
    • Leoš Janáček ac tempora nostra: Brno XIII 1978
    • Janáčkiana: Ostrava 1978 and 1979
    • Leoš Janáček, Musik-Konzepte, no.7 (1979) [incl. list of works and bibliography]
    • Živý Janáček: Brno 1979
    • J. Knaus, ed.: Leoš Janáček – Materialien: Aufsätze zu Leben und Werk (Zürich, 1982)
    • Dvořák, Janáček, and their Time: Brno XIX 1984
    • Janáček and Czech Music: St Louis 1988
    • Janáčkiana 1977–1986: deset let muzikologických konferencí pořádaných v rámci ostravského hudebního festivalu socialistických zemí Janáčkův Máj [Ten years of musicological conferences organized within the framework of ‘Janáček’s May’, the Ostrava music festival of socialist countries] (Ostrava, 1988)
    • Probleme der Modalität: Leoš Janáček heute und morgen: Brno 1988, ed P. Macek (Brno, 1994)
    • P. Wingfield, ed.: Janáček Studies (Cambridge, 1999)
    • Občasník Mezinárodní společnosti Leoše Janáčka [Occasional periodical of the International Society Leoš Janáček] (Brno, 2002)
    • A přece je i v hudbě jen jedna pravda…: Brno 2003 [And even in music there is but one truth], ed. J. Šťastný (Brno, 2003)
    • M. Beckerman, ed.: Janáček and his World (Princeton and Oxford, 2003)
    • ‘Fenomén Leoš Janáček’ [The Janáček phenomenon] OM, vol.36/1 (2004)
    • Fenomén Janáček včera a dnes: Brno 2004 [The Janáček phenomenon in past and present], ed. J. Halíř, L. Pelíšková, and P. Sýkora (Brno and Prague, 2006)
    • ÖMz, vol.59/1 (2004) [Janáček issue]
    • Leoš Janáček: Création et culture européenne: Paris 2008, ed. B. Banoun, L. Stránská, and J.-J. Velly (Paris, 2011)
    • Leoš Janáček světový a regionální: [Ostrava], 2008 [Leoš Janáček worldwide and regional], web conference, ed. J. Nowak and K. Steinmetz (Ostrava, 2008)
    • Janáčkiana 2014: Ostrava 2014, ed. K. Steinmetz and others (Ostrava, 2015)
    • Janáčkiana 2016: Ostrava 2016, ed. K. Steinmetz, and others (Ostrava, 2017)
    C: Correspondence
    • Janáčkův archiv, 1st ser., ed. V. Helfert (i) and J. Racek (ii–ix): i: Korespondence Leoše Janáčka s Artušem Rektorysem, ed. A. Rektorys (Prague, 1934) [enlarged 2/1949 = iv]; ii: Korespondence Leoše Janáčka s Otakarem Ostrčilem, ed. A. Rektorys (Prague, 1948); iii: Korespondence Leoše Janáčka s F.S. Procházkou, ed. A. Rektorys (Prague, 1949); iv: Korespondence Leoše Janáčka s Artušem Rektorysem, ed. A. Rektorys (Prague, enlarged 2/1949); v: Korespondence Leoše Janáčka s libretisty Výletů Broučkových [Janáček’s correspondence with the Brouček librettists], ed. A. Rektorys (Prague, 1950); vi: Korespondence Leoše Janáčka s Gabrielou Horvátovou, ed. A. Rektorys (Prague, 1950); vii: Korespondence Leoše Janáčka s Karlem Kovařovičem a ředitelstvím Národního divadla [Janáček’s correspondence with Kovařovic and the directorate of the National Theatre], ed. J. Racek and A. Rektorys (Prague, 1950); viii: Korespondence Leoše Janáčka s Marií Calmou a MUDr Františkem Veselým, ed. J. Racek and A. Rektorys (Prague, 1951); ix: Korespondence Leoše Janáčka s Maxem Brodem, ed. J. Racek and A. Rektorys (Prague, 1953)
    • T. Straková, ed.: František Bartoš a Leoš Janáček: vzájemná korespondence (Gottwaldov, 1957)
    • I. Stolařík, ed.: Jan Löwenbach a Leoš Janáček: vzájemná korespondence (Opava, 1958)
    • B. Štědroň: ‘Ke korespondenci a vztahu Leoše Janáčka a Karla Kovařovice’ [Correspondence and relations between Janáček and Kovařovic], SPFFBU, F6 (1960), 31–69
    • J. Knaus, ed.: ‘Intime Briefe’ 1879/80 aus Leipzig und Wien (Zürich, 1985, enlarged 2/2009)
    • S. Přibáňová, ed.: Dopisy strýci/Dopisy matky [Letters to his uncle/Letters from his mother], pubd as suppl. to V. Janáček (D1985)
    • Z.E. Fischmann, ed. and trans.: Janáček-Newmarch Correspondence (Rockville, MD, 1986)
    • E. Hilmar, ed.: Leoš Janáček: Briefe an die Universal Edition (Tutzing, 1988)
    • S. Přibáňová, ed.: Hádanka života: dopisy Leoše Janáčka Kamile Stösslové [The riddle of life: the letters of Leoš Janáček to Kamila Stösslová] (Brno, 1990)
    • J. Tyrrell, ed. and trans.: Intimate Letters: Leoš Janáček to Kamila Stösslová (London, 1994)
    • L. Uhlíková, ed.: ‘Leoš Janáček a Martin Zeman: vzájemná korespondence’ [Leoš Janáček and Martin Zeman: mutual correspondence], Národpisná revue, vol.4 (1994), 77–112
    • P. Koukal, ed.: ‘Korespondence nakladatele Emila Šolce s Leošem Janáčkem’ [The correspondence of the publisher Emil Šolc with Leoš Janáček], Vlastivědný sborník vysočiny: oddíl věd společenských, vol.11 (1998), 363–75
    • M. Toncrová, ed.: Korespondence Leoše Janáčka s Hynkem Bímem [Leoš Janáček’s correspondence with Hynek Bím] (diss., Masaryk U., Brno, 1999)
    • S. Sedláčková, ed.: Vzajemná korespondence Lucie Bakešové s Leošem Janáčkem [The correspondence between Lucie Bakešová and Leoš Janáček] (bachelor thesis, Masaryk U, Brno, 2001)
    • Z. Mišurec, ed.: Leoš Janáček: korespondence a studie z dokumentačních fondů Etnologického ústavu AV ČR v Praze [Leoš Janáček: correspondence and studies from the documentary funds of the Ethnographical Institute of the Academy of Sciences of the Czech Republic in Prague] (Prague, 2002)
    • J. Weiss, ed.: ‘The Transcription of the Correspondence between Leoš Janáček (1854–1928) and Emerik Beran (1868–1940)’, MZ, vol.42/1 (Ljubljana, 2006), 147–64
    • L. Janáčková, ed.: Leoš Janáček a Břetislav Bakala: edice vzájemná korespondence [Leoš Janáček and Břetislav Bakala: edition of mutual correspondence] (bachelor thesis, Masaryk U., Brno, 2007)
    • S. Přibáňová, ed.: Leoš Janáček: Thema con variazioni: korespondence s manželkou Zdeňkou a dcerou Olgou [Correspondence with his wife Zdenka and his daughter Olga] (Prague, 2007); Ger. trans., as Thema con Variazioni: Briefwechsel mit seiner Frau Zdenka und seiner Tochter Olga (Kassel, 2009)
    • D. Langer, ed.: Leoš Janáček, Écrits (Paris, 2009)
    D: Memoirs
    • J. Mikota: ‘Leoš Janáček v Anglii’ [Janáček in England], Listy Hudební matice, vol.5 (1925–6), 257–68
    • V. Dyk: ‘Vzpomínka na Leoše Janáčka’ [A memoir of Leoš Janáček], Lumír, vol.55/4 (1928), 183–4
    • O. Chlubna: ‘Vzpomínky na Leoše Janáčka’ [Reminiscences of Leoš Janáček], Divadelní list Zemského divadla v Brně, vol.7 (1931–2), 101–4, 125–7, 169 only, 172 only, 289–90
    • B. Štědroň, ed.: Janáček ve vzpomínkách a dopisech [Janáček in reminiscences and letters] (Prague, 1946; Eng. trans., 1955)
    • R. Smetana: Vyprávění o Leoši Janáčkovi [Stories about Janáček] (Olomouc, 1948)
    • I. Stolařík, ed.: Leoš Janáček: Ostravsko k 30. výročí úmrtí [The Ostrava district on the 30th anniversary of Janáček’s death] (Ostrava, 1958) [reminiscences]
    • M. Trkanová: U Janáčků: podle vyprávění Marie Stejskalové [At the Janáčeks: after the account of Marie Stejskalová (Janáček’s housekeeper)] (Prague and Bratislava, 1959, 2/1964); Eng. trans. as At the Janáčeks, trans. E. Oklestková-Pospisil (Grand Bend, ON, 2002)
    • M. Brod: ‘Erinnerungen an Janáček’, Beiträge 1967, ed. K. Roschitz (Kassel, 1967), 30–40
    • F. Kožík: Po zarostlém chodníčku [On the overgrown path] (Prague, 1967, 3/1983) [reminiscences by Křička, Horvátová, Kundera, Kunc, Mikota]
    • F.M. Hradil: Hudebníci a pěvci v kraji Leoše Janáčka [Musicians and singers in Janáček country] (Ostrava, 1981) [incl. Hradil’s reminiscences of Janáček]
    • V. Janáček: Životopis Jiříka Janáčka [The autobiography of Jiří Janáček], ed. J. Sehnal, (Brno, 1985)
    • B. Štědroň: Leoš Janáček: vzpomínky, dokumenty, korespondence a studie [Reminiscences, documents, correspondence] (Prague, 1986)
    • B. Rudolf: ‘Meine Erinnerungen an Leoš Janáček (1854–1928)’, Musikerziehung, vol.42/2 (1988), 69–74
    • U. Otmar: ‘Třebíčské památky na Leoše Janáčka [Memorials of Leoš Janáček in Třebíč], Šlépěje kultury západní Moravy [Footprints of culture in western Moravia], vol.9 (1998), 52–6
    • M. Trkanová: Paměti: Zdenka Janáčková: můj život [Memoirs: Zdenka Janáčková: my life] (Brno, 1998)
    • J. Tyrrell, ed. and trans.: My Life with Janáček: the Memoirs of Zdenka Janáčková (London, 1998)
    • D. Gojowy: Leoš Janáček in Zeugnissen und Erinnerungen (Chemnitz, 2000)
    • V. Janáček: Pamětní kniha rodiny Janáčkovy jakož i kronika školy, kostela, fary a obce Albrechtic; sebrané spisy Vincence Janáčka [The memorial book of the Janáček family as well as the chronicle of the school, church, rectory and village of Albrechtice: the collected writings of Vincenc Janáček], ed. M. Myška, J. Sehnal and P. Hlaváček (Albrechtičky, 2011)
    E: Life and works
    • J. Kunc: ‘Leoš Janáček’, HR, vol.4 (1911), 121–34, 185–9
    • M. Brod: Leoš Janáček: život a dílo [Life and works] (Prague, 1924; Ger. orig., 1925, 2/1956)
    • D. Muller: Leoš Janáček (Paris, 1930/R)
    • A.E. Vašek: Po stopách dra Leoše Janáčka [On the track of Dr Leoš Janáček] (Brno, 1930)
    • V. Helfert: Leoš Janáček: obraz životního a umelečkého boje [Janáček: a picture of his personal artistic struggles] (Brno, 1939)
    • J. Vogel: Leoš Janáček: Leben und Werk (Kassel, 1958; Eng. trans., 1962, 3/1997; Cz. orig., 1963, 2/1997) [expanded version of Leoš Janáček: dramatik (Prague, 1948)]
    • J. Racek: Leoš Janáček: Mensch und Künstler (Leipzig, 1962, 2/1971; Cz. orig., 1963, as Leoš Janáček: člověk a umělec)
    • H. Hollander: Leoš Janáček: his Life and Works (London, 1963; Ger. orig., 1964)
    • M. Černohorská: Leoš Janáček (Prague, 1966) [in Eng.; also in Fr., Ger., Russ., 1966]
    • B. Štědroň: Leoš Janáček: k jeho lidskému a uměleckému profilu [Janáček’s personal and artistic profile] (Brno, 1976)
    • G. Erismann: Janáček, ou La passion de la vérité (Paris, 1980)
    • I. Horsbrugh: Leoš Janáček: the Field that Prospered (London, 1981)
    • K. Honolka: Leoš Janáček: sein Leben, sein Werk, seine Zeit (Stuttgart and Zürich, 1982)
    • A.A. Gozenpud: Leosh Yanachek (Moscow, 1984)
    • S. Přibáňová: Leoš Janáček (Prague, 1984)
    • F. Pulcini: Janáček: vita, opere, scritti (Turin and Florence, 1993)
    • M. Saremba: Leoš Janáček: Zeit – Leben – Werk – Wirkung (Kassel, 2001)
    • M. Zemanová: Janáček: a Composer’s Life (London, 2002)
    • L. Firkušný: Janáčkův život [Janáček’s life] (Prague, 2005)
    • J. Ort: Leoš Janáček: der späte Wilde: Liebe und Leben in Opern und Briefen (Kassel, 2005); in Czech as Pozdní divoch: Láska a život Leoše Janáčka v operách a dopisech (Brno, 2005)
    • J. Rousseau: Leoš Janáček (Arles, 2005)
    • J. Tyrrell: Years of a Life, i: The Lonely Blackbird 1854–1914 (London, 2006), ii: Tsar of the Forests 1914–1928 (London, 2007); in Cz. i (Brno, 2018), ii (Brno, 2020)
    • C. Schwandt: Leoš Janáček: eine Biografie (Mainz, 2009)
    • G.M. Cummins III: Janáček’s Eternal Love (Bloomington, IN, 2015)
    F: Biographical and historical studies
    • J. Mikota: ‘Leoš Janáček v Anglii’ [Janáček in England], Listy Hudební matice, vol.5 (1925–6), 257–68
    • B. Štědroň: ‘Leoš Janáček na mužském učitelském ústavě v Brně’ [Janáček at the men’s teachers’ institute in Brno], Tempo, vol.13 (1933–4), 314–40 [see also Rytmus, vol.11 (1947–8), 140–45]
    • H. Kašlík: Leoš Janáček dirigent [Janáček as conductor] (Prague, 1936)
    • B. Štědroň: ‘Leoš Janáček a Luhačovice’, Vyročni zpráva Městské spořitelny v Luhačovicích za rok 1938 (Luhačovice, 1939)
    • L. Kundera: Janáček a Klub přátel umění [Janáček and the Friends of Art Club] (Olomouc, 1948)
    • L. Kundera: Janáčkova varhanická škola [Janáček’s organ school] (Olomouc, 1948)
    • J. Procházka: Lašské kořeny života i díla Leoše Janáčka [Lachian roots in the life and works of Janáček] (Frýdek-Místek, 1948)
    • J. Racek: ‘Leoš Janáček a Bedřich Smetana’, Slezský sborník, vol.49 (1951), 433–84
    • B. Štědroň: ‘Janáček a Čajkovskij’ [Janáček and Tchaikovsky], SPFFBU, vol.2 (1953), 201–17
    • J. Racek: ‘Janáček a Praha’ [Janáček and Prague], Musikologie, vol.3 (1955), 11–50
    • T. Straková: ‘Setkání Leoše Janáčka s Gabrielou Preissovou’ [Janáček’s meeting with Gabriela Preissová], ČMm, vol.43 (1958), 145–63 [with Ger. summary]
    • P. Vrba: ‘Janáčkova první cesta do Ruska roku 1896’ [Janáček’s first journey to Russia in 1896], Slezský sborník, vol.57 (1959), 464–72
    • P. Vrba: ‘Ruský kroužek v Brně a Leoš Janáček’ [The Russian Circle in Brno and Janáček], Slezský sborník, vol.58 (1960), 71–85
    • P. Vrba: ‘Janáčkova ruská knihovna’ [Janáček’s Russian library], Slezský sborník, vol.60 (1962), 242–9
    • J. Fukač: ‘Leoš Janáček a Zdeněk Nejedlý’, SPFFBU, F7 (1963), 5–29
    • J. Racek: ‘Janáčeks Studienaufenthalt in Leipzig in den Jahren 1879–1880’, 1843–1968: Hochschule für Musik Leipzig, ed. M. Wehnert, J. Froner, and H. Schiller (Leipzig, 1968), 187–99; Cz. orig., ČMm, vol.62 (1977), 75–82
    • O. Chlubna: ‘Vzpomínky na Janáčkův případ’ [Recollections about Janáček’s case], OM, vol.2 (1970), 281–4; Ger. trans. in Knaus (B1982), 68–73 [on the demise of Janáček’s Organ School]
    • J. Knaus: ‘Leoš Janáček und Richard Strauss’, NZM, Jg.133 (1972), 128–30; rev. in Richard-Strauss-Blätter, new ser., no.3 (1980), 74–9
    • J. Kazda: ‘Janáčkovo svědectví o českých hercích’ [Janáček’s documentation of Czech actors], HV, vol.15 (1978), 333–9
    • J. Procházka: ‘Leoš Janáček, Václav Talich a Česká filharmonie’, OM, vol.10 (1978), 184–7; nos.5–6, pp.xix–xxiv
    • V. Gregor: ‘L. Janáček a Společnost pro výzkum dítěte v Brně’ [Janáček and the Society for Child Research in Brno], OM, vol.13 (1981), 265–7
    • A. Závodský: ‘Petr Bezruč a Leoš Janáček’, SPFFBU, D28 (1981), 29–38
    • H. Krones: ‘Leoš Janáčeks Studienaufenthalt in Wien’, ÖMz, vol.39 (1984), 657–61
    • S. Přibáňová: ‘Nové prameny k rodokmenu Leoše Janáčka’ [New sources for Janáček’s family tree], ČMm, vol.69 (1984), 129–37
    • C. Susskind: Janáček and Brod (New Haven, CT, and London, 1985) [incl. correspondence]
    • Z. Blažek: ‘Janáček, organizátor: neznámé dokumenty z let 1887 až 1919’ [Janáček as organizer: unknown documents 1887–1919], OM, vol.19 (1987), 196–205
    • P. Macek: ‘Leoš Janáček a František Ondrúšek: přátelství skladatele a malíře’ [Janáček and Ondrúšek: the friendship of composer and painter], OM, vol.20 (1988), 52–6
    • J. Procházková: ‘Prezident a skladatel’ [President and composer], OM, vol.22 (1990), 168–82
    • J. Vysloužil: ‘Leoš Janáček und Wien’, SMw, vol.41 (1992), 257–85
    • V. Kyas: ‘Janáček se neměl o koho opřít? Amálie Wickenhauserová-Nerudová, Leoš Janáček a léta sedmdesátá’ [Did Janáček have no one to rely on? Amálie Wickenhauserová-Nerudová, Janáček and the 1870s], OM, vol.25 (1993), 33–42
    • J. Procházková and B. Volný: Narozen na Hukvaldech [Born in Hukvaldy] (Brno, 1994; Eng. trans., 1995)
    • J. Vysloužil: ‘Leoš Janáček und das moderne Wien’, Visionen und Aufbrüche: zur Krise der modernen Musik 1908–1933 (Kassel, 1994), 125–38
    • J. Procházková: ‘Leoš Janáček a Česká národní kapela v Brně’ [Janáček and the Czech National Band in Brno], OM, vol.27 (1995), 91–6
    • M. Stejskalová-Melnikova: ‘Janáčkova sbírka ruských nápěvků mluvy’ [Janáček’s collection of Russian speech-melodies], HV, vol.34 (1997), 333–57 [with Ger. summary]
    • J. Bártová: ‘Janáčkovo působení na Učitelském ústavu v Brně a hudební obzor venkovského učitele na přelomu 19. a 20. století’ [Janáček’s activity at the Teachers’ Institute in Brno and the musical horizons of a country teacher at the end of the 19th century], HV, vol.35 (1998), 337–83 [with Ger. summary]
    • J. Bártová: ‘Leoš Janáček, c.k. učitel hudby’ [Janáček, imperial and royal music teacher], OM, vol.30 (1998), 131–9
    • J. Procházková: ‘Leoš Janáček and Military Music’, SPFFBU, vol.47, H33 (1998), 43–53
    • J. Procházková: ‘Leoš Janáček jako organizátor orchestrálních koncertů v Brně 1889–1914’ [Janáček as organizer of orchestral concerts in Brno], OM, vol.30 (1998), 50–59
    • N. Zlámalová: ‘Olga Janáčková: dcera skladatele’ [Olga Janáčková: the daughter of the composer], OM, vol.31 (1999), 30–41
    • A. Chipman: ‘Janáček and Sibelius: the Antithetical Fates of Creativity in Late Adulthood’ Psychoanalytic Review, vol.87 (2000), 429–54
    • J. Porter: ‘Bartók and Janáček: Ideological Convergence and Critical Value’, MQ, vol.84/3 (2000), 426–51
    • L. Botstein: ‘The Cultural Politics of Language and Music: Max Brod and Leoš Janáček’, in Beckerman (B2003), 13–54 [incl. Eng. trans. of Adorno reviews of Jenůfa and The Makropulos Affair]
    • S. Locke: ‘Janáček’s illnesses’, in Tyrrell (E2006), 798–802
    • J. Záhrádka: ‘Janáček’s finances’, in Tyrrell (E2006), 517–23, 829–32; Tyrrell (E2007), 305–9, 632–44, 902–7
    • P. Christiansen: ‘Was Janáček Obsessed?’ SPFFBU, H42–3 (2007–8), 117–22
    • J. Tyrrell: ‘Janáček a “vojenský motiv” v Salome’ [Janáček and the ‘military motif’ in Salome], OM, vol.40/5 (2008), 4–7
    • J. Tyrrell: ‘Janáček, Religion and Belief’, Musicologica brunensia, vol.44/1–2 (2009), 209–16
    • V. Vejvodová: ‘Leoš Janáček und Richard Strauss’, Musicologica austriaca: Jahresschrift der Österreichischen Gesellschaft für Musikwissenschaft, vol.28 (2009), 161–80
    • L. Janáčková: ‘Janáček: čtenář knih i periodického tisku’ [Janáček: reader of books and of the periodical press], OM, vol.42/2 (2010), 44–51
    • B. Steege: ‘Janáček’s Chronoscope’, JAMS, vol.64/3 (2011), 647–87
    • O. Lána: Leoš Janáček a Hudební matice Umělecké besedy (1908–1920) (thesis, Masaryk U., Brno, 2012); excerpts in O. Lána: ‘Spolupráce Leoše Janáčka a Hudební matice Umělecké besedy do roku 1920 [The collaboration of Leoš Janáček with the Hudební matice Umělecké besedy up to 1920], Acta musicologica: Revue pro hudební vědu, vol.1 (2014) [http://acta.musicologica.cz/14-01/1401g.htm]
    • L. Janáčková: ‘“Jsem rád, že noty budou v pořádku”: Leoš Janáček a Břetislav Bakala –vzájemný vztah dvou umělců’ [‘I am happy that the notes will be all right’: Leoš Janáček and Břetislav Bakala – mutual relationship between the two artists], Musicologica brunensia, vol.47/1 (2013), 63–70
    • J. Procházková: ‘Leoš Janáček a brněnské paměťové instituce’ [Leoš Janáček and the memorial institutions in Brno], HV, vol.50 (2013), 335–50
    • L. Janáčková: Janáček a Lidové noviny/Leoš Janáček and Lidové noviny (Brno, 2014)
    • J. Tyrrell: ‘“Blázinec na jeviště”: Janáček a balet’ [‘A Madhouse on Stage’: Janáček and ballet], Janáčkiana 2014: Ostrava 2014, 31–8
    • O. Lána: Leoš Janáček a Umělecká beseda (1920–1928) (diss., Masaryk U., Brno, 2017)
    G: Stylistic, analytical, and aesthetic studies
    • J. Racek: ‘Slovanské prvky v tvorbě Leoše Janáčeka’ [Slav elements in Janáček’s works], Časopis Matice moravské, vol.70 (1951), 364–417; pubd separately (Brno, 1952)
    • P. Gülke: ‘Versuch zur Ästhetik der Musik Leoš Janáčeks’, DJbM, vol.12 (1967), 5–39; repr. in Leoš Janáček, Musik-Konzepte, no.7 (1979), 4–40
    • A. Sychra: ‘K Janáčkově tematické práci’ [Janáček’s thematic work], HRo, vol.23 (1970), 14–20
    • J. Tyrrell: ‘Janáček and the Speech-Melody Myth’, MT, vol.111 (1970), 793–6
    • O. Chlubna: ‘O kompozičním myšlení Leoše Janáčka’ [Janáček’s compositional thought processes], HRo, vol.24 (1971), 121–6
    • R. Gerlach: ‘Leoš Janáček und die Erste und Zweite Wiener Schule: ein Beitrag zur Stilistik seines instrumentalen Spätwerks’, Mf, vol.24 (1971), 19–34
    • P. Gülke: ‘Protokolle des schöpferischen Prozesses: zur Musik von Leoš Janáček’, NZM, Jg.134 (1973), 407–12, 498–505
    • N.S. Josephson: ‘Formale Strukturen in der Musik Leoš Janáčeks’, ČMm, vol.59 (1974), 103–18
    • D. Ströbel: Motiv und Figur in den Kompositionen der Jenufa-Werkgruppe Leoš Janáčeks: Untersuchungen zum Prozess der kompositorischen Individuation bei Janáček (Munich and Salzburg, 1975)
    • J. Jiránek: ‘Dramatické rysy Janáčkova klavírního stylu’ [Dramatic traits in Janáček’s writing for the piano], OM, vol.10 (1978), 139–48; repr. in J. Jiránek: Muzikologické etudy (Prague, 1981), 88–100
    • J. Jiránek: ‘Janáčkova estetika’, Estetika, vol.15 (1978), 193–207; repr. in J. Jiránek: Muzikologické etudy (Prague, 1981), 101–13; abridged Eng. trans., MZ, vol.16 (1980), 51–61
    • K. Steinmetz: ‘Vliv některých slezských fenomenů na utváření Janáčkova vyzrálého kompozičního stylu sborového’ [The influence of certain Silesian phenomena on the shaping of Janáček’s style in his mature choral works], Časopis Slezského muzea, B27 (1978), 134–45; see also HRo, vol. 31, no.3, pp.137–9; no.4, pp.228–30
    • J. Tyrrell: ‘Janáček a viola d’amour’, Leoš Janáček ac tempora nostra: Brno XIII 1978, 303–8; enlarged Eng. version in Tyrrell (H1982), 154–61
    • J. Volek: ‘Leoš Janáček und die neue Art der Auswertung spontaner Elemente der musikalischen Kreativität im XX. Jahrhundert’, Leoš Janáček ac tempora nostra: Brno XIII 1978, 41–75
    • A. Gozenpud: ‘Janáček a Musorgskij’, OM, vol.12 (1980), no.4, pp.101–9, no. 5 suppl. pp.i–v, vii–viii; Ger. trans. in Leoš Janáček-Gesellschaft: Mitteilungsblatt 1984
    • A. Sychra: ‘Janáčkovy názory na programní hudbu’ [Janáček’s views on programme music], Studia aesthetica: Acta Universitatis Carolinae, philosophica et historica, vol.3/2 (1980), 119–31
    • Z. Blažek: ‘Janáčkovy skladebné veličiny a skladba komplikační’ [Janáček’s greatness as a composer and complication-type composition], OM, vol.13 (1981), 65–70
    • M. Kaňková: ‘Sonátová forma v díle Leoše Janáčka’ [Sonata form in Janáček’s works], OM, vol.14 (1982), 135–40
    • V. Karbusický: ‘The Experience of the Indexical Sign: Jakobson and the Semiotic Phonology of Leoš Janáček’, American Journal of Aesthetics, vol.20/3 (1983), 35–58
    • P. Wingfield: ‘Unauthorised Recomposition in Leoš Janáček’s Music: Guidelines for a New Approach to a Complex Problem’, JMR, vol.7 (1987), 187–214
    • P. Wingfield: Source Problems in Janáček’s Music: their Significance and Interpretation (diss., U. of Cambridge, 1988)
    • J. Volek: ‘The “Old” and “New” Modality in Janáček’s The Diary of One Who Vanished and Nursery Rhymes’, Leoš Janáček and Czech Music: St Louis 1988, 57–81
    • J. Jiránek: ‘Intonace řeči jako zdroj Janáčkovy vokální hudby’ [Speech intonation as a source of Janáček’s vocal music], OM, vol.22 (1990), 257–63
    • J. Kulka: Leoš Janáček’s Aesthetic Thinking (Prague, 1990)
    • J. Knaus: ‘Dvořákova aktuálnost pro Janáčka’ [Dvořák’s topicality for Janáček], HRo, vol.64 (1991), 472–5; Ger. orig. as ‘Dvořáks Aktualität für Janáček’, Dvořák-Studien: Saarbrücken 1991, 40–46
    • M. Kundera: Les testaments trahis: essai (Paris, 1993; Eng. trans., 1995) [incl. two chaps. on Janáček]; see also Můj Janáček [My Janáček] (Brno, 2004)
    • K. Steinmetz: ‘Analytické sondy do artikulace hudebního času Janáčkových děl Úvod k opeře Z mrtvého domu a sboru Potulný šílenec’ [Analytical soundings on the articulation of musical time of Janáček’s works: introduction to the opera From the House of the Dead and the chorus The Wandering Madman], Acta Universitatis palackianae Olumucensis, Facultas paedagogica, Musica IV: Hudební věda a výchova, vol.6 (1993), 87–111
    • K. Steinmetz: Artikulace času v Janáčkově hudbě: příspěvek k analýze časově pohybových struktur Janáčkových děl a k využití těchto analýz v hudební praxi [The articulation of time in Janáček’s music: contribution to the analysis of the structures of Janáček’s works moving in time and for the use of these analyses in musical works] (Olomouc, 1994)
    • P. Wingfield: ‘Unlocking a Janáček Enigma: the Harmonic Structure of Kudrjáš’s “Waiting Song”’, ML, vol.75 (1994), 561–75
    • M. Štědroň: ‘Janáčkova melodika: některé specifické rysy’ [Janáček’s melody: some specific traits], SPFFBU, H30 (1995), 93–108
    • M. Štědroň: Leoš Janáček a hudba 20. století: paralely, sondy, dokumenty [Janáček and 20th-century music: parallels, soundings, documents] (Brno, 1998) [incl. ‘Janáček a verismus’, 15–54; ‘Janáček a impresionismus’, 55–87; ‘Janáček a expresionismus’, 89–111; ‘Janáček a avantgarda 20. let’, 113–26]
    • R. Holloway: ‘Expressive Sources and Resources in Janáček’s Musical Language’, in Wingfield (B1999), 1–17
    • P. Wingfield: ‘Janáček, Musical Analysis, and Debussy’s Jeux de vagues’, in Wingfield (B1999), 183–280
    • G. Chew: ‘Reinterpreting Janáček and Kamila: Dangerous Liaisons in Czech Fin-de-Siècle Music and Literature’, in Beckerman (B2003), 99–144
    • L. Faltus: ‘Kořeny techniky montáže u Leoše Janáčka’ [The roots of montage technique in Janáček’s oeuvre], A přece je i v hudbě jen jedna pravda...: Brno 2003, 33–9
    • M. Štědroň: ‘Akordické tympany u pozdního Janáčka’ [Chordal timpani in late Janáček], A přece je i v hudbě jen jedna pravda...: Brno 2003, 42–50
    • M. Štefková: ‘Význam moravsko-slovenskej ľudovej piesne pre “nápěvkový princip” Leoša Janáčka’ [The importance of Moravian-Slovak folk song for Leoš Janáček’s speech-melody principle], SH, vol.29/1 (2003), 57–87
    • A. Whittall: ‘Rites of Renewal and Remembrance’, Exploring Twentieth-Century Music: Tradition and Innovation (Cambridge, 2003), 35–54
    • D. Schweiger: ‘Konstruktionen von Leoš Janáček’s Modernität’, ÖMz, vol.59/1 (2004), 30–38
    • H. Moyson: Leoš Janáček als muziektheoreticus: een studie van Úplná nauka o harmonii (diss., U. of Leuven, 2006)
    • J. Tyrrell: ‘Janáček and Modernism’, SPFFBU, H41 (2006), 225–30; rev. Tyrrell (E2007), 718–23
    • M. Štědroň: ‘Kdy a kde začíná janáčkovská originalita? Sedm tezí na těžko zodpověditelnou otázku’ [When and where does Janáček’s originality start? Seven theses for a hard-to-answer question], Leoš Janáček: Světový a regionální: [Ostrava] 2008, 9–17
    • D. Katz: Janáček Beyond the Borders (Rochester, NY, 2009)
    • R. Scruton: ‘True Authority: Janáček, Schoenberg, and Us’, Understanding Music: Philosophy and Interpretation (London and New York, 2009), 162–81
    • J. Zahrádka: ‘Janáček a česka estetika, i, [Janáček and Czech Aesthetics, i], OM, vol.61/6 (2009), 10–16; ii: OM, vol.62/1 (2010), 51–64
    • J. Lyon: Leoš Janáček – Jean Sibelius –Ralph Vaughan Williams: un cheminement commun vers les sources (Paris, 2011)
    • J. Tyrrell: ‘Janáček and Melodrama’, Melodramatic Voices: Understanding Music Drama, ed. S Hibberd (Ashgate, Surrey, 2011), 121–36
    • V. Zvara: ‘Leoš Janáček and the “Slavic Catharsis”’, IRMAS, vol.43/1(2012), 23–34
    • J. Tyrrell: ‘From Rubinstein to Rebikov: Influences of Russian Composers on Janáček’, MZ, vol.51/2 (2015), 99–118
    • D. Hudecová and Petr Ch. Kalina: ‘Leoš Janáček’s Interpretation and Misinterpretation of Dostoyevsky’s The House of the Dead’, Musicologica Brunensia, vol.51/2 (2016), 27–40
    • J. Tyrrell: ‘Maestoso Janáček’, MZ, vol.54 (2018), 23–49
    H: Stage works
    • GroveO (J. Tyrrell) [incl. further bibliography]
    • M. Brod: Sternenhimmel: Musik- und Theatererlebnisse (Prague and Munich, 1923, 2/1966 as Prager Sternenhimmel: Musik- und Theatererlebnisse) [incl. chaps. on Jenůfa and Káťa Kabanová]
    • L. Firkušný: Odkaz Leoše Janáčka české opeře [Janáček’s legacy to Czech opera] (Brno, 1939)
    • I. Belza: ‘Opery Leosha Yanachka’ [The operas of Leoš Janáček], Iskusstvo, cheshskaia opernaia klassika (Moscow, 1951), 111–19
    • Musikologie, vol.3 (1955) [incl. F. Pala: ‘Jevištní dílo Leoše Janáčka’ [Janáček’s stage works], 61–210; J. Burjanek: ‘Janáčkova Káťa Kabanová a Ostrovského Bouře’ [Janáček’s Káťa and Ostrovsky’s The Storm], 345–416; T. Straková: ‘Janáčkovy operní náměty a torsa’ [Janáček’s operatic projects and fragments], 417–49]
    • T. Straková: ‘Janáčkova opera Osud’, ČMm, vol.41 (1956), 209–60, vol.42 (1957), 133–64 [with Ger. summary]
    • V. Nosek, ed.: Opery Leoše Janáčka na brněnské scéně [Janáček’s operas on the Brno stage] (Brno, 1958) [articles on each opera, incl. O. Chlubna on his revisions to Šárka and From the House of the Dead]
    • D. Shawe-Taylor: ‘The Operas of Leoš Janáček’, PRMA, vol.85 (1958–9), 49–64
    • B. Štědroň: ‘K Janáčkově opeře Osud’, Živá hudba, vol.1 (1959), 159–83
    • Z. Sádecký: ‘Celotónový charakter hudební řeči v Janáčkově “Lišce Bystroušce”’ [The whole-tone character of the musical language of Janáček’s Cunning Little Vixen], Živá hudba, vol.2 (1962), 95–163 [with Ger. summary]
    • O. Fiala: ‘Libreto k Janáčkově opeře Počátek románu’ [The libretto of Janáček’s The Beginning of a Romance], ČMm, vol.49 (1964), 192–222 [with Ger. summary]
    • Operní dílo Leoše Janáčka: Brno 1965 [Janáček’s operatic works]
    • J. Procházka: ‘Z mrtvého doma: Janáčkův tvůrčí i lidský epilog a manifest’ [From the House of the Dead: Janáček’s creative and human epilogue and manifesto], HV, vol.3 (1966), 218–43, 462–83
    • J. Tyrrell: ‘The Musical Prehistory of Janáček’s Počátek románu and its Importance in Shaping the Composer’s Dramatic Style’, ČMm, vol.52 (1967), 245–70 [with Cz. summary]
    • L. Polyakova: Opernoye tvorchestvo Leosha Yanachka [Janáček’s operas] (Moscow, 1968)
    • Z. Sádecký: ‘Výstava dialogu a monologu v Janáčkově Její pastorkyni’ [Dialogue and monologue structure in Janáček’s Jenůfa], Živá hudba, vol.4 (1968), 73–146 [with Ger. summary]
    • B. Štědroň: Zur Genesis von Leoš Janáčeks Oper Jenufa (Brno, 1968, 2/1971); extracts in Eng. in SPFFBU, H3 (1968), 43–74; H5 (1970), 91–101 [incl. further bibliography]
    • J. Tyrrell: ‘Mr Brouček’s Excursion to the Moon’, ČMm, vols.53–4 (1968–9), 89–124 [with Cz. summary]
    • L. Polyakova: ‘Russkiye operï Yanacheka’ [Janáček’s ‘Russian’ operas], Puti razvitiya i vzaimosvyazi russkovo i chekhoslovatskovo, ed. Institut istorii iskusstv (Moscow, 1970), 190; Cz. trans. in Cesty rozvoje a vzájemné vztahy ruského a československého umění (Prague, 1974), 247–69
    • E. Chisholm: The Operas of Leoš Janáček (Oxford, 1971)
    • T. Kneif: Die Bühnenwerke von Leoš Janáček (Vienna, 1974)
    • A. Němcová: ‘Brněnská premiéra Janáčkovy Její pastorkyně’ [The Brno première of Janáček’s Jenůfa], ČMm, vol.59 (1974), 133–46 [with Eng. summary]; Ger. trans. in Knaus (B1982), 7–22
    • M. Ewans: Janáček’s Tragic Operas (London, 1977; enlarged Ger. trans., 1981, as Janáčeks Opern)
    • J. Burghauser: ‘Janáčkovo poslední hudebně dramatické torso’ [Janáček’s last musico-dramatic fragment], HV, vol.15 (1978), 317–25 [incid. music to Schluk und Jau]
    • C. Dahlhaus: Musikalischer Realismus: zur Musikgeschichte des 19. Jahrhunderts (Munich, 1982; Eng. trans., 1985), 121–35 [incl. discussion of Jenůfa]
    • J. Tyrrell: Leoš Janáček: Káťa Kabanová (Cambridge, 1982) [incl. letters and other documents]
    • M. Melnikova: ‘Interpretace Dostojevského textu v libretu poslední Janáčkovy opery’ [The interpretation of Dostoyevsky’s text in the libretto of Janáček’s last opera], HV, vol.23 (1986), 43–55
    • J. Tyrrell: ‘The Cathartic Slow Waltz and Other Finale Conventions in Janáček’s Operas’, Essays on Drama and Music in Honour of Winton Dean, ed. N. Fortune (Cambridge, 1987), 333–52
    • J. Tyrrell: Czech Opera (Cambridge, 1988)
    • J. Tyrrell: Janáček’s Operas: a Documentary Account (London, 1992) [incl. further bibliography]
    • N. Simeone: ‘A Tale of Two Vixens: Janáček’s Relationship with Emil Hertzka at Universal Edition and the 1924 and 1925 Editions of The Cunning Little Vixen’, Sundry Sorts of Music Books: Essays on the British Library Collection Presented to O.W. Neighbour, ed. C. Banks, A. Searle, and W. Turner (London, 1993), 319–29
    • N. Simeone: ‘Zamyšlené uvedení Janáčkovy Věci Makropulos v Berlíně roku 1928’ [The planned Berlin production of Janáček’s The Makropulos Affair in 1928], OM, vol.25 (1993), 245–8
    • A. Němcová: ‘Horňácké vzory Janáčkovy Její pastorkyňa’ [Horňácko models in Janáček’s Jenůfa], OM, vol.26 (1994), 57–67
    • J. Knaus and J. Vysloužil, eds.: Die Ausflüge des Herrn Brouček: Dokumente, Materialien, Wertungen (Zürich, 1995)
    • M. Audus: ‘Chybějící pojítko: rekonstrukce Její pastorkyně z r. 1904’ [The missing link: a reconstruction of the 1904 Jenůfa], OM, vol.28 (1996), 186–96
    • V. Karbusický: ‘Skutečný život v Janáčkově “Broučkovi”’ [Real life in Janáček’s Brouček], HV, vol.33 (1996), 103–8
    • W. Bernhart, ed.: Leoš Janáček: Konzeption und Rezeption seines musikdramatischen Schaffens (Anif-Salzburg, 1997)
    • M. Novák: Leoš Janáčeks Oper Věc Makropulos (diss., U. of Heidelberg, 1998)
    • G. Chew and R. Vilain: ‘Evasive Realism: Narrative Construction in Dostoevsky’s and Janáček’s From the House of the Dead’, in Wingfield (B1999), 56–78
    • D.M. Paige: Women in the Operas of Leoš Janáček (diss., U. of California, Santa Barbara, 2000)
    • C. Cooper: Janáček’s Techniques of Unification in the Mature Operas (diss., Princeton U., 2003)
    • A. Ernst: ‘Durch kleine Ritze nimmt man Abgründe wahr’: an Examination of Max Brod’s Performing Versions of the Works of Leoš Janáček (diss., U. of Newcastle, Australia, 2003)
    • J. Tyrrell: ‘How Janáček Composed Operas’, in Beckerman (B2003), 55–78; rev. in Tyrrell (E2007), 300–28
    • J. Tyrrell: ‘Janáček and the Leitmotif’, A přece je v hudbě jen jedna pravda/And even in music there is but one truth: Brno 2003, 19–30; rev. in Tyrrell (E2007), 780–93
    • D.G. Stamogiannou: The Genesis of Leoš Janáček’s Opera Káťa Kabanová (diss., U. of Cambridge, 2004)
    • V. Vejvodová: Leoš Janáček: Živá mrtvola: geneze, analýza, edice [Leoš Janáček: The Living Corpse: genesis, analysis, edition] (diss., Masaryk U., Brno, 2004; abridged in ‘Janáčkův operní fragment Živá mrtvola podle dramatu L. N. Tolstého’ [Janáček’s operatic fragment The Living Corpse after the play by L.N. Tolstoy], OM, vol.37 (2005), 17–23)
    • J. Vysloužil: ‘Skutečnost a sen v Janáčkově operním díle’ [Reality and dream in Janáček’s operatic work], OM, vol.37 (2005), 15–17
    • M. Audus: The 1904 Version of Janáček’s ‘Jenůfa’: Sources, Reconstruction, Commentary (diss., U. of Nottingham, 2006)
    • G. Chew: ‘Is Leoš Janáček’s Příhody Lišky Bystroušky a Rejection of the Romantic Lie?’, SPFFBU, H41 (2006), 75–82
    • D. Šlosar: ‘Stará čeština v Janáčkově Výletu pana Broučka do XV. Století’ [Old Czech in Janáček’s Excursion of Mr Brouček to the 15th Century], SPFFBU, H41 (2006), 213–16
    • K. Steinmetz: ‘Vztah hudby a slova v Janáčkově prvotině Šárka: analytické sondy do začátku 1. jednání opery’ [The relation of word and music in Janáček’s first opera Šárka: analytical soundings into the beginning of the first act of the opera], Hudební věda a výchova, vol.10 [Musica, vol.7] (2006), 12–23
    • J. Tyrrell: ‘Genre in Janáček’s Operas’, MZ, vol.42/1 (2006), 139–46; rev. in Tyrrell (E2007), 807–15
    • J. Zahrádka: ‘Několik poznámek k instrumentačním zvláštnostem Janáčkovy opery Výlety páně Broučkovy’ [Some remarks on the instrumental peculariarities of the opera The Excursions of Mr Brouček], SPFFBU, H41 (2006), 243–8
    • K. Horáčková: Janáčkovy opery v překladech Maxe Broda [Janáček’s operas in Max Brod’s translation] (Brno, 2007)
    • G. Chew: ‘Jenůfa as a Social Document’, SPFFBU, H42–3 (2007–8), 39–45
    • A. Němcová: ‘Zrození dramatika’ [The birth of a dramatist], SPFFBU, H42–3 (2007–8), 123–9
    • J. Zahrádka: ‘Výlety Páně Broučkovy: vývoj dramaturgické koncepce opery’ [The Excursions of Mr Brouček: the evolution of the dramaturgical conception of the opera], SPFFBU, H42–3 (2007–8), 53–8
    • G. Chew: ‘The Adventures of The Cunning Little Vixen: Leoš Janáček, Max Brod, and their Predecessors’, Austrian Studies, vol.17 (2009), 113–32 [‘Words and Music’ issue]
    • V. Němec: ‘Osud Janáčkovy opery Šárka ve světle dosud neznámé korespondence Julia Zeyera’ [The fate of Janáček’s opera Šárka in the light of so far unknown correspondence of Julius Zeyer], OM, vol.61/6 (2009), 17–22
    • J. Sheppard: ‘How the Vixen Lost its Mores: Gesture and Music in Janáček’s Animal Opera’, COJ, vol.20/2 (2010), 147–74
    • M. Štědroň: ‘Dvojí Janáček’ [Dual Janáček], Moravsko-slovenské folklorní inspirace v české a slovenské hudbě: Ostrava, 2010, 9–23
    • M. Štědroň: ‘Janáčkovo operní torzo Paní mincmistrová’ [Janáček’s operatic torso, The Mintmaster’s Wife], Musicologica brunensia, vol.45/1–2 (2010), 223–49
    • J. Tyrrell: ‘Janáček, Nejedlý and the Future of Czech National Opera’, Art and Ideology in European Opera: Essays in Honour of Julian Rushton, ed. R. Cowgill, D. Cooper, and C. Brown (Woodbridge, 2010), 103–21
    • M. Frippiat: Janacek: Opéras, mode d’emploi (Paris, 2011)
    • U. Lenz and S. Weis, eds.: ‘Aus einem Totenhaus’: Leoš Janáčeks letzte Oper (Hannover, 2011)
    • J. Zahrádka: ‘Divadlo nesmí býti lidu komedií’: Leoš Janáček a Národní divadlo v Brně/‘Theatre Must Not Be Comedy for the People’: Leoš Janáček and the National Theatre in Brno (Brno, 2012)
    • J. Tyrrell: ‘Why Did Act 1 of From the House of the Dead End with the Skuratov Theme?’ Musicologica brunensia, vol.48 (2013), 108–14
    • J. Zahrádka: ‘Osud, dílo v mnohém zlomové’ [Fate, in many respects a groundbreaking work], Musicologica brunensia, vol.48/2 (2013), 155–90
    • I. Rentsch: ‘Broučeks Prag: Die Opernästhetik Leoš Janáčeks und ihre Wurzeln in der tschechischen Musikgeschichte’, AMw, vol.71/3 (2014), 167–90
    • P. Kočová: ‘Pocátek románu: úloha výtvárného námětu pro Janáčkova druhou operu’ [The Beginning of a Romance: the role of the design subject for Janáček’s second opera], OM, vol.47/2 (2015), 38–49
    • J. Zahrádka: ‘“Třeba věřit v lidstvo a velikost lásky!”: několik kapitol o Janáčkově opeře Věc Makropulos’ [‘It’s necessary to believe in mankind and the greatness of love!’: a few chapters about Janáček’s opera The Makropulos Affair], OM, vol.47/3 (2015), 19–45
    • J. Tyrrell: ‘Tchaikovsky, Charpentier and the Formation of Janáček’s Mature Operatic Style’, _Czech Music Around 1900), ed. L. Křupková and J. Kopecký, Studies in Czech Music, 6 (Hillsdale, NY, 2017), 167-84
    I: Vocal
    • B. Štědroň: ‘Janáček, upravovatel Lisztovy mše’ [Janáček: the arranger of a Mass by Liszt], Cyril, vol.72 (1947), 90–94; Ger. trans. as ‘Leoš Janáček und Ferenc Liszt’, SPFFBU, F7 (1963), 139–43
    • Č. Gardavský: ‘Chrámové a varhanní skladby Leoše Janáčka’ [Janáček’s church and organ works], Musikologie, vol.3 (1955), 330–42
    • A. Tučapský: Mužské sbory Leoše Janáčka a jejich interpretační tradice [Leoš Janáček’s male-voice choruses and their performing tradition] (Prague, 1971)
    • J. Trojan: ‘Janáčkovy klavírní doprovody moravských lidových písni’ [Janáček’s piano accompaniments to his Moravian folksongs], Živý Janáček: Brno 1979, 25–31
    • S. Přibáňová: ‘Neznámý slavnostní sbor Leoše Janáčka z roku 1878’ [An unknown festive chorus by Leoš Janáček from 1878], ČMm, vol.72 (1987), 205–14
    • P. Wingfield: Janáček: Glagolitic Mass (Cambridge, 1992)
    • J. Jiránek: ‘Leoš Janáček: Glagolitische Messe’, Werkanalyse in Beispielen: Grosse Chorwerke, ed. S. Helms and R. Schneider (Regensburg, 1994), 139–63
    • J. Mikeska: Tajemství P.S. aneb Odhalení autora textu Janáčkova Zápisníku zmizelého [The mystery of the p.s., or the revelation of the author of the text of Janáček’s Diary of One who Disappeared] (Vizovice, 1998)
    • J.K. Novak: ‘Janáčkova Říkadla jako kompendium skladatelova kompozičního stylu’ [Janáček’s Nursery Rhymes as a compendium of the composer’s compositional style], HV, vol.36 (1999), 49–66
    • J. Vičar: ‘Leoš Janáček’s The Diary of One Who Disappeared’, Imprints: Essays on Czech Music and Aesthetics (Olomouc, 2005), 51–98
    • J. Zahrádka: ‘Ke genezi a premiéře Janáčkovy Glagolské mše’ [On the genesis and premiere of Janáček’s Mša glagolskaja], Musicologica brunensia (Stanislavovi Tesařovi k 70. narozeninám), vol.65/1–2 (2010), 263–80
    • J. Říha: Janáčkův Otčenáš (geneze, analýza, interpretace) [Janáček’s Our Father: genesis, analysis, interpretation] (Ústí nad Labem, 2011); also in Eng. (Ústí nad Labem, 2011)
    • L. Janáčková: ‘Leoš Janáček: Říkadla – inspirace Lidovými novinami’ [Leoš Janáček: Nursery Rhymes – inspired by Lidové noviny], OM, vol.64/5 (2012), 15–21
    • M. Recknagel: ‘Panslawische Urlaute: Leoš Janáčeks Mša glagolskaja’, Musiktheorie: Zeitschrift für Musikwissenschaft, vol.29/2 (2014), 125–42 [‘Panslawismus: Utopie und Wirklichkeit’]
    • J. Procházková: ‘New Discoveries about Janáček’s Choruses from 1873 to 1876 (Texts – Parts – Chronology)’, HV, vol.54 (2017), 117–76
    J: Instrumental
    • B. Štědroň: ‘K Janáčkovým Národním tancům na Moravě’ [On Janáček’s Folk Dances in Moravia], SPFFBU, F2 (1958), 44–54; see also OM, vol.6 (1974), 165–71
    • T. Straková: ‘Neznáme nástrojové skladby Leoše Janáčka’ [Janáček’s unknown instrumental works], ČMm, vol.44 (1959), 163–78 [with Ger. summary]
    • S. Přibáňová: ‘K otázce vzniku Janáčkova Tarase Bulby’ [The question of the origin of Janáček’s Taras Bulba], ČMm, vol.49 (1964), 223–8
    • B. Štědroň: ‘Die Inspirationsquellen von Janáčeks Concertino’, Musica cameralis: Brno VI 1971, 423–34; Cz. orig. in Na křízovatce umění: sborník k poctě šedesátin prof. dr. Artura Závodského, ed. Z. Srna and J. Krystýnek (Brno, 1973), 363–8
    • L. Lébl: ‘Janáčkova Sinfonietta’, HV, vol.15 (1978), 305–15
    • V. Felix: ‘Příspěvek k poznání specifických rysů Janáčkova sonátového slohu: analýza Sonáty pro housle a klavír’ [The recognition of specific features of Janáček’s sonata style: analysis of the Violin Sonata], Živá hudba, vol.7 (1980), 127–44 [with Ger. summary]
    • J. Jiránek: ‘Janáčeks Klavierkompositionen vom Standpunkt ihres dramatischen Charakters: Versuch einer semantischen Analyse’, AMw, vol.39 (1982), 179–97
    • M. Wehnert: ‘Das Instrumentarium und seine Behandlung in Janáčeks “Capriccio”: eine Caprice?’, SPFFBU, H19–20 (1984), 127–35; also in BMw, vol.28/4 (1986), 277–83
    • M. Wehnert: ‘Imagination und thematisches Verständnis bei Janáček: dargestellt an Taras Bulba’, Acta Janáčkiana, vol.2 (1985), 76–90
    • H. Naito: ‘K problematice výrazové hudební formy Janáčkových “Našich večerů”’ [On the problems of the expressive musical form of Janáček’s Our Evenings], SPFFBU, H21 (1986), 61–72 [with Eng. summary and Jap. trans.]
    • P. Wingfield: ‘Janáček’s “Lost” Kreutzer Sonata’, JRMA, vol.112 (1987), 229–56
    • P. Wingfield: ‘Janáček’s V mlhách: Towards a New Chronology’, ČMm, vol.72 (1987), 189–204
    • M. Štědroň and L. Faltus: ‘Janáčkův houslový koncert: torzo nebo vrcholné dílo posledního údobí skladatele?’ [Janáček’s Violin Concerto: torso or culminative work of the composer’s final period?], OM, vol.20 (1988), 89–96 [on the original version of the overture to From the House of the Dead]
    • J. Procházková: ‘Duše v očarovaném kruhu’ [The soul in the charmed circle], OM, vol.21 (1989), 200–07 [on the Violin Concerto and the original version of the overture to From the House of the Dead]
    • C. Speck: ‘Bild und Symbol in Märchen für Violoncello und Klavier von Leoš Janáček’, Festschrift Rudolf Bockholdt, ed. N. Dubowy and S. Meyer-Eller (Pfaffenhofen, 1990), 389–412
    • J. Knaus: ‘Klaviermusik von Leoš Janáček’, Jb der Bayerischen Akademie der schönen Künste, vol.6 (1992), 468–75
    • Z.D. Skoumal: Structure in the Late Instrumental Music of Leoš Janáček (diss., CUNY, 1992)
    • J. Procházková: ‘Geneze Janáčkovy symfonie Dunaj’ [The genesis of Janáček’s symphony The Danube], OM, vol.25 (1993), 8–15
    • J. Procházková: ‘Inspirační zdroje a geneze Janáčkovy nedokonečné symfonie Dunaj’ [The inspirational sources and genesis of Janáček’s unfinished symphony The Danube], ČMm, vol.78/1–2 (1993), 239–48
    • J. Hermand: ‘Listy důvěrné (Intime Briefe): Janáčeks 2. Streichquartett’, Die Semantik der musiko-literarischen Gattungen: Methodik und Analyse: eine Festgabe für Ulrich Weisstein, ed. W. Bernhart (Tübingen, 1994), 117–34
    • N.S. Josephson: ‘Cyclical Structures in the Late Music of Leoš Janáček’, MQ, vol.79 (1995), 402–20
    • K. Steinmetz: ‘Strukturální a sémantická analýza Janáčkovy Balady blanické’ [Stuctural and semantic analysis of Janáček’s Ballad of Blaník], HV, vol.33 (1996), 203–32
    • M. Štědroň: ‘Listy důverné: analytické poznámky ke skice Janáčkova II. smyčcového kvartetu’ [Intimate Letters: analytical remarks on the sketch of Janáček’s String Quartet no.2], HV, vol.34 (1997), 90–99 [with Ger. summary]
    • J. Trojan: ‘Milenec a nevolník okamžíku: nad klavírními črtami Leoše Janáčka’ [Lover and servant of the moment: on Leoš Janáček’s piano sketches], OM, vol.29 (1997), 16–23
    • J. Doubravová: ‘Janáčkova III. houslová sonata’ [Janáček’s Violin Sonata no.3], OM, vol.30 (1998), 10–18
    • T. Adès: ‘“Nothing but Pranks and Puns”; Janáček’s Solo Piano Music’, in Wingfield (B1999), 18–35
    • H. MacDonald: ‘Narrative in Janáček’s Symphonic Poems’, in Wingfield (B1999), 36–55
    • J. Jiraský: ‘O putování jednoho motivu a jiných zajímavostech v Janáčkově klavírním díle’ [About the wandering of one motif and other interests in Janáček’s piano work], Fenomén Janáček včera a dnes: Brno 2004, 131–45
    • J. Perutková: ‘Problém programnosti první řady Janáčkova klavírního cyklu Po zarostlém chodníčku’ [The programme problem of the first series of Janáček’s piano cycle On the Overgrown Path], Fenomén Janáček včera a dnes: Brno 2004, 105–11
    • J. Tyrrell: ‘Janáček and Programme Music’, Ad Parnassum, vol.2/3 (2004), 61–102; rev. in Tyrrell (E2007), 248–78
    • J. Jiraský: Klavírní dílo Leoše Janáčka [The piano works of Leoš Janáček] (Brno, 2005)
    • J. Vičar: ‘Leoš Janáček’s Taras Bulba’, Imprints: Essays on Czech Music and Aesthetics (Olomouc, 2005), 99–143
    • J. Zahrádka: ‘O vzniku klavírního cyklu V mlhách’ [The genesis of the piano cycle In the Mists], Preface to L. Janáček: V mlhách (Kassel, 2005), iii–xiii
    • J. Zahrádka: ‘O vzniku skladby 1. X. 1905’ [The genesis of the composition 1.], Preface to L. Janáček: 1. X. 1905 (Kassel, 2005), iii–xvi; see also ‘1.X.1905: mýtus a skutečnost Janáčkem zničené skladby’ [1.X.1905: the myth and reality of Janáček’s destroyed composition], OM, vol.37/3 (2005), 23–5
    • J. Sehnal: ‘Leoš Janáček a varhany’ [Leoš Janáček and the organ], SPFFBU H41 (2006), 159–69
    • W.P. Dougherty: ‘Echoes of Anguish and Agony in 20th-Century Chamber Music: Interpreting Interpretation: Janáček’s String Quartet No. 1’, Sonic Transformations of Literary Texts: From Program Music to Musical Ekphrasis: Nine Essays, ed. S. Bruhn (Hillsdale, NY, 2008), 105–18
    • E. Drlíková: ‘Objev Janáčkových fug’ [The discovery of Janáček’s fugues], OM, vol.40/1 (2008), 20–21
    • O. Lána: Leoš Janáček: Balada Blanická: monografické zpracování orchestrální skladby [Leoš Janáček: The Ballad of Blaník: a monographic working of an orchestral composition] (bachelor thesis., Masaryk U., Brno, 2008)
    • N.S. Josephson: ‘Janáček’s Intimate Letters (Listy důvěrné): Erotic Biography and Creative Genesis’, AMw, vol.66 (2009), 155–84
    • J. Sehnal: ‘Die Orgel in Leben und Werk Leoš Janáček’, Acta organologica, vol.32 (2012), 405–38
    • J. Zahrádka: ‘Ke genezi Janáčkova smyčcového kvartetu Listy důvěrné’ [On the genesis of Janáček’s String Quartet Intimate Letters], Musicologica brunensia, vol.67/2 (2012), 95–106
    • C. Efthimiou: ‘About the Instrumentation of Bass and Melody Line in Leoš Janáček’s Sinfonietta and Mládí’, Musicologica Brunensia, vol.48/1 (2013), 31–43
    • J. Zahrádka: ‘Od sokolských fanfár přes Symfoniettu vojenskou, sletovou až po Sinfoniettu’ [From Sokol Fanfare, Military and Rally Symfonietta to Sinfonietta], OM, vol.65/5 (2013), 6–33
    • J.K. Novak: The Symphonic Works of Leoš Janácek: from Folk Concepts to Original Style (Frankfurt am Main, 2016)
    • G. Chew: ‘The Enchanting Music of Blades and Bullets: Visions of Violence in Janáček’s World-War Symphonic Poems’, ML, vol.99 (2018)
    • M. Zapletal: ‘On the Programmatic Character of Janáček’s Suite Compositions from the 1870s’, _Nineteenth-Century Programme Music Creation, Negotiations, Reception_, ed. J. Kregor (Turnhout, 2018), pp. 359-80
    K: Theoretical and pedagogical
    • O. Chlubna: ‘Teoretické učení Leoše Janáčka’ [Janáček’s theoretical teachings], HRo, vol.1 (1924–5), 57–63, 77–8, 114–16, 129–32
    • M. Černohorská: ‘K problematice vzniku Janáčkovy theorie nápěvků’ [Problems about the origin of Janáček’s speech–melody theory], ČMm, vol.42 (1957), 165–78; see also vol.43 (1958), 129–44 [both with Ger. summaries]
    • J. Volek: ‘Janáčkova Úplná nauka o harmonii’ [Janáček’s complete harmony manual], Novodobé harmonické systémy z hlediska vedecké filosofie (Prague, 1961), 231–78
    • Z. Blažek: ‘Janáčkova hudební teorie’, Leoš Janáček: hudební teoretické dílo, i (Prague, 1968), 21–45 [further bibliography in J. Racek’s introduction, 9–20]
    • B. Dušek: ‘Janáčkovy názory na hudební harmonii v letech 1884–1912’ [Janáček’s views on harmony in music in the years 1884 to 1912], HV, vol.5 (1968), 374–404 [summaries in Eng., Ger., Russ.]
    • J. Blatný: ‘Janáček učitel a teoretik’ [Janáček as teacher and theorist], OM, vol.1 (1969), 97–100
    • Z. Blažek: ‘Polyphonie und Rhythmik in Janáčeks Musiktheorie’, SPFFBU, H4 (1969), 107– 16 [with Cz. summary]
    • F. Řehánek: ‘Ke spojovacím formám a spojům v Janáčkově učení o harmonii’ [Forms of combination and links in Janáček’s theories of harmony], HV, vol.6 (1969), 439–43
    • F. Řehánek: ‘Janáček a funkčnost v jeho teorii’ [Janáček and harmonic function in his theories], ČMm, vol.59 (1974), 97–102
    • Leoš Janáček ve škole: Hukvaldy 1975 [OM, vol.8/7–8 (1976)] [Janáček as teacher]
    • F. Řehánek: ‘K Janáčkově terminologii’ [Janáček’s terminology], OM, vol.8 (1976), 108–11
    • M. Beckerman: ‘Janáček and the Herbartians’, MQ, vol.69 (1983), 388–407; Cz. trans. in SPFFBU, H21 (1986), 17–29
    • J. Burghauser: ‘Hudební metrika v Janáčkovo teoretickém díle’ [Musical metre in Janáček’s theoretical works], SPFFBU, H19–20 (1984), 137–53 [with Ger. summary]
    • Z. Blažek: ‘Leoš Janáček o skladbě a hudebních formách na Varhanické škole’ [Leoš Janáček on composition and musical forms at the Organ School], OM, vol.20 (1988), 107–11
    • M. Beckerman: Janáček as Theorist (Stuyvesant, NY, 1994)
    • K. Steinmetz: ‘Janáčkův názor o sčasování (rytmu)’ [Janáček’s view about sčasování (rhythm)], HV, vol.34 (1997), 100–15
    • M. Štědroň: ‘Janáčkovy nápěvky mluvy: imprese – stereotyp – výsledky analýz?’ [Janáček’s speech melodies; impressions – stereotypes – results of analyses?], HV, vol.37 (2000), 140–56
    • P.V. Christiansen: Leoš Janáček’s Conception of Speech Melody (diss., U. of California, Davis, 2002)
    • F. Řehánek: ‘Diatonické mody u Leoše Janáčka’ [Diatonic modes in Leoš Janáček], HV, vol.40 (2003), 29–69
    • M. Štefková: ‘Das “Prinzip der Sprechmelodie” Leoš Janáčeks: die Theorie der mährischen Volksliedes und ihre Auswirkungen auf Janáčeks kompositorische Praxis’, Musiktheorie, vol.18/2 (2003), 142–68
    • P. Christiansen: ‘The Meaning of Speech Melody for Leoš Janáček’, JMR, vol.23/3–4 (2004), 241–63
    • J. Trojan: ‘Janáčkova lašská modulace: k zapomenutému hudebně folkloristickému termínu’ [Janáček’s Lachian modulation: on the forgotten ethnomusicological term], Český lid, vol.91 (2004), 351–6
    • J.G.S. Pearl: The Music of Language: the Notebooks of Leoš Janáček (diss., U. of California, Santa Barbara, 2005)
    • J.S. Pearl: ‘Eavesdropping with a Master: Leoš Janáček and the Music of Speech’, Empirical Musicology Review, vol.1/3 (2006), 131–65
    • J. Tyrrell: ‘Speech melody’, in Tyrrell (E2006), 477–89
    • L. Faltus: ‘František Řehánek: harmonické myšlení Leoše Janáčka: poznámky k rukopisu’ [František Řehánek: Leoš Janáček’s harmonic thought: remarks on the manuscript], Leoš Janáček světový a regionální ([Ostrava], 2008), 139–71
    • J. Trojan: ‘Mährische Kadenz: o jedinečném harmonickém závěru Leoše Janáčka’ [The Moravian cadence: the unique harmonic ending of Leoš Janáček], OM, vol.61/4 (2009), 16–18
    • M. Štefková: ‘Vplyvy folklórnej “modality” na hudobné myslenie Leoša Janáčka’ [The influence of the ‘modality’ of folksong on Leoš Janáček’s musical thinking], Moravsko-slovenské folklorní inspirace v české a slovenské hudbě: Ostrava, 2010, 41–56
    • M. Štefková: ‘Melodische Wahrheit: die Rolle der Sprechmelodien in der musikalischen Poetik Leoš Janáčeks’, in Lenz and Weis (H2011), 27–44
    • T. Vainiomäki: The Musical Realism of Leoš Janáček: from Speech Melodies to a Theory of Composition, Acta semiotica fennica XLI: Approaches to Musical Semiotics 15 (Imatra, 2012)
    • M. Holá: ‘Fenomén nápěvků mluvy Leoše Janáčka: historický i současný pohled na problematiku’ [The phenomenon of Leoš Janáček’s speech melodies: historical and contemporary view of the problem], OM, vol.65/6 (2013), 39–44
    L: Ethnographic aspects
    • J. Vysloužil: ‘Hudebně folkloristické dílo Leoše Janáčka’ [Janáček’s work on folk music], Leoš Janáček: o lidové písni a lidové hudbě, ed. J. Vysloužil (Prague, 1955), 29–78
    • K. Vetterl: ‘Lidová píseň v Janáčkových sborech do roku 1885’ [Folksong in Janáček’s choruses to 1885], SPFFBU, F9 (1965), 365–78 [with Ger. summary]; see also ‘Janáček’s Creative Relationship to Folk Music’, Leoš Janáček et musica europaea[: Brno III 1968], 235–42
    • A. Geck: Das Volksliedmaterial Leoš Janáčeks: Analysen der Strukturen unter Einbeziehung von Janáčeks Randbemerkungen und Volkstudien (Regensburg, 1975)
    • O. Hrabalová and F. Hrabal: ‘K některým Janáčkovým úpravám lidových písní z let 1908–1912’ [On some of Janáček’s folksong arrangements 1908–12], Časopis Slezského muzea, ser.B, vol.25 (1976), 14–28
    • Z. Misurec: ‘Činnost Leoše Janáčka jako organizátora národopisné práce’ [Janáček’s activities as an organizer of ethnographic activities], Český lid, vol.65 (1978), 221–9
    • J. Mazurek: ‘Národopisné vystavy na vychodní Moravě a ve Slezsku před rokem 1891: podíl Leoše Janáčka na přípravě’ [National exhibitions in eastern Moravia and in Silesia before 1891: Janáček’s part in their preparation], Sborník prací Pedagogické fakulty v Ostravě, D15 (1979), 93–102
    • J. Trojan: Moravská lidová píseň [Moravian folksong] (Prague, 1980)
    • O. Hrabalová: ‘Leoš Janáček o třídění moravských lidových písní’ [Janáček on the classification of Moravian folksongs], Národopísné aktuality, vol.25/4 (1988), 217–27
    • L. Kunz: ‘Komentář k Janáčkovu studiu mečového tance ze Strání’ [Commentary on Janáček’s study of the sword dance from Strání], Slovácko, vol.30 (1988), 155–70
    • D. Holý: ‘Janáčkovy redakce záznamů písňových nápěvů’ [Janáček’s edition of folksong notations], Studie o Těšínsku, vol.14 (1989), 30–44
    • L. Tyllner: ‘Některé prvky stavby lidových písní a jejich vztah k tektonice děl L. Janáčka a V. Nováka’ [Some elements of the construction of folksongs and their relationship to the structure of the words of Janáček and Novák], Studie o Těšínsku, vol.14 (1989), 57–62
    • J. Procházková: ‘Janáčkovy tance: české, moravské, valašské, lašské, hanácké a národní’ [Janáček’s dances: Czech, Moravian, Valachian, Lachian, Haná, and folk], OM, vol.24 (1992), 311–18; vol.25 (1993), 104–11, 164–71
    • M. Toncrová: ‘“Das Volkslied in Österreich”, aneb Ke zrodu Ústavu pro etnografii a folkloristiku v Brně’ [‘Das Volkslied in Österreich’, or the birth of the Institute for Ethnography and Folklore Studies in Brno], OM, vol.27 (1995), 242–53
    • J. Nečas and others: Nejstarší zvukové záznamy moravského a slovenského lidového zpěvu (z folkloristické činnosti Leoše Janáčka a jeho spolupracovníků)/The Oldest Recordings of Moravian and Slovak Folk Singing (on Folkloristic Activities of Leoš Janáček and his Collaborators) (Brno, 1998)
    • J. Procházková: ‘Janáčkovy záznamy lidových písní a tanců z Horácka’ [Janáček’s notations of folksongs and dances from Horácko], OM, vol.31 (1999), 31–8
    • K. Vetterl: ‘K Leoše Janáčka teorie lidové písně’ [Leoš Janáček’s theory of folksong], OM, vol.33/1 (2001) 22–32
    • J. Procházková: ‘Janáčkovy snahy o fotografickou dokumentaci v rámci podniku Lidová píseň v Rakousku’ [Janáček’s attempts at photographic documentation within the framework of the research project Folksong in Austria], Národopisná revue, vol.13 (2003), 199–211
    • J. Procházková: ‘Hudební stránka Janáčkových folklorních záznamů’ [The musical side of Janáček’s folkloristic transcriptions], OM, vol.36 (2004), 20–26
    • J. Procházková: ‘Tempo a čas v Janáčkových záznamech hudebního folklóru’ [Tempo and time in Janáček’s notations of folk music]’, OM, vol.37/5 (2005), 19–23
    • J. Procházková: Janáčkovy záznamy hudebního a tanečního folkloru, i: komentáře [Janáček’s notations of folk music and dance, i: commentary] (Brno, 2006); ii: severní oblasti Moravy, Slezsko [northern regions of Moravia, Silesia] (Brno, 2018); iii: jižní oblasti Moravy, Slovensko [southern regions of Moravia, Slovakia] (Brno, 2018)
    • Moravsko-slovenské folklorní inspirace v české a slovenské hudbě: Ostrava, 2010 [Moravian-Slovak folk inspiration in Czech and Slovak], ed. K Steinmetz and J. Nowak (Ostrava, 2010)
    • J. Procházková: ‘Janáčkovy srbské folklorní inspirace: zpěvy lidu srbského’ [Janáček´s Serbian folklore inspirations: songs of the Serbian people], HV, vol.48/4 (2011), 393–40
    • J. Procházková and others: Vzaty do fonografu [As recorded by the phonograph] (Brno, 2012) [cylinder recordings and transcriptions of folk music by Janáček and his collaborators]
    • J. Procházková: ‘Od živé tradice k teorii: poznámky k původu janáčkova odborného termínu zhušťování’ [From live tradition to theory: notes on the origin of Janáček’s term ‘thickening’], Od folkloru k world music: co patří do encyklopedie (Náměšť nad Oslavou, 2013), 22–30
    • J. Procházková: ‘New Sources for Janáček’s Essay Brezovská píseň and his Notation of Long-Drawn-Out Folksong’, HV, vol.55 (2018), 41–54
    M: Janáček as writer
    • V. Helfert: ‘Kořeny Janáčkova kritického stylu’ [The roots of Janáček’s critical style], in J. Racek and L. Firkušný: Janáčkovy feuilletony z L.N. (Brno, 1938), 22–8; repr. in L. Janáček: Fejetony z Lidových novin (Brno, 1958), 273–81
    • A. Novák: ‘Leoš Janáček spisovatel’ [Janáček as writer], in J. Racek and L. Firkušný: Janáčkovy feuilletony z L.N. (Brno, 1938), 15–21; repr. in L. Janáček: Fejetony z Lidových novin (Brno, 1958), 265–72
    • P. Eisner: ‘Janáček spisovatel’ [Janáček as writer], HRo, vol.11 (1958), 762–5
    • A. Sychra: ‘Janáčkův spisovatelský sloh, klíč sémantice jeho hudby’ [Janáček’s style as a writer: a key to the semantics of his music], Estetika, vol.1 (1964), 3–30, 109–25
    • J. Kvapil: ‘K problému Janáčkova literárního slohu’ [The problem of Janáček’s literary style], Janáčkiana: Ostrava 1978 and 1979, 102–9
    • J. Kvapil: ‘Janáček skladatel a beletrista’ [Janáček as composer and writer], OM, vol.11 (1979), 134–7
    • ‘Janáček a literatura’ [Janáček and literature], Hudba a literatura, ed. R. Pečman (Frýdek-Místek, 1983), 98–114 [incl. articles by A. Němcová, S. Přibáňová, K. Steinmetz, and T. Straková]
    • V. Vejvodová: ‘Zdeněk Fibich as Viewed by Leoš Janáček’, Zdeněk Fibich as a Central European Composer at the End of the Nineteenth Century (Olomouc, 2010), 273–80
    • M. Hons: ‘Leoš Janáček jako kritik a analytik smetanovy, dvořákovy a fibichovy hudby’ [Leoš Janáček as a critic and analyst of music by Smetana, Dvořák, and Fibich], OM, vol.65/1 (2013), 48–58
    N: Reception and performance
    • Sborník Janáčkovy akademie múzických umění, vol.5 (1965) [articles on performance and interpretation]
    • I. Kobán, ed.: ‘Das schlaue Füchslein’ von Leoš Janáček: ‘Und doch ist in der Musik nur eine Wahrheit’: zu Walter Felsensteins Inszenierung an der Komischen Oper Berlin (1956) (Anif-Salzburg, 1997)
    • S. Přibáňová and Z. Lederová-Protivová: Svět Janáčkových oper/The World of Janáček’s Operas (Brno, 1998) [esp. S. Přibáňová: ‘Přehled inscenací jevištního díla Leoše Janáčka z let 1894–1998’ [A survey of stage productions of Janáček’s works 1894–1998], 97–126]
    • P. Částková: Káťa Kabanová na brněnském jevišti (Brno, 2003)
    • J. Bártová and M. Holá: Režijní přístupy k operám Leoše Janáčka v Brně [Directoral approaches to the operas of Leoš Janáček in Brno] (Brno, 2004)
    • J. Zahrádka: ‘Za blázna mne tedy zase měli: o prvním nastudováním opery Výlety páně Broučkovy v pražském Národním divadle’ [‘So they take me now again for a fool’: on the first production of the opera The Excursions of Mr Brouček at the Prague National Theatre], OM, vol.36/2 (2004), 8–17
    • J. Zahrádka: ‘Výlety Páně Broučkovy na scéně brněnského Národního divadla v meziválečném období: několik poznámek k proměnám skladatelova nejrozsáhlejšího hudebnědramatického díla’ [The Excursions of Mr Brouček on the stage of the Brno National Theatre in the interwar period: some remarks on the changes to the composer’s most extensive musico-dramatic work], OM, vol.37/6 (2005), 22–7
    • E. Levi: ‘Janáček and the Third Reich’, SPFFBU, H42–3 (2007–8), 69–79
    • J. Zahrádka: ‘Janáček jako “repertoárový autor” u nás i ve světě’ [Janáček as a ‘repertory composer’ in the Czech Republic and abroad], Leoš Janáček světový a regionální: [Ostrava] 2008, 125–9
    • L. Křupková: ‘Warum Die Sache Makropulos bei den Angelsachsen beliebter ist? Eine Sonde in die Rezeption Janáčeks Oper in Deutschland, England und den USA’, Musicologica olomucensia, vol.10 (2009), 133–46
    • M. Unseld: ‘Experimentelles Musiktheater in schwieriger Zeit: Aus einem Totenhaus am Landestheater Oldenburg im Jahr 1931’, in Lenz and Weis (H2011), 61–74
    • H. Havlíková: ‘Let vězněného orla: paradoxy národní identity v kontextu uvádění oper Leoše Janáčka u nás a v zahraničí v letech 1996–2011’ [The flight of the imprisoned eagle: paradoxes of national identity in the context of performances of Leoš Janáček’s operas in the Czech Republic and abroad from 1996 to 2011], Národní identita/y v české hudbě (Prague, 2012), 57–81; see also Czech Music Quarterly (2011), no.4, pp.10–20
    • J. Bártová: ‘Janáčkovský interpret’ [Janáček interpreter], František Jílek: osobnost dirigenta [František Jílek: the personality of a conductor] (Brno, 2014), 182–224
    • J. Colomb: Janacek en France: ou de l’indifférence à la reconnaissance; la réception française de la musique de Janacek (Clichy, 2014)
    • J. Zahrádka: ‘“Ja, ja, tak to ma byt!”: několik poznámek k prvnímu nastudování Janáčkových záznamů Příběhů lišky Bystroušky v brněnském Národním divadle’ [‘Yes, that’s how it should be!’: remarks on the first performance of Janáček’s The Cunning Little Vixen at the National Theatre in Brno], OM, vol.46/5 (2014), 51–65
    • J. Tyrrell: ‘Mackerras and Janáček: list of Mackerras’s performances of Janáček operas’, Charles Mackerras, ed. N. Simeone and J. Tyrrell (Woodbridge, 2015), 45–60; 207–10
    • R. Ferrer Llueca: ‘The Reception of Leoš Janáček’s Opera Jenůfa in Spain’, Janáčkiana 2016: Ostrava 2016, 88–93
    • M. Mojžišová: ‘Inscenačné premeny Janáčkovej opery Věc Makropulos v súčasnom európskom divadle’ [Transformations in staging Janáček’s opera The Makropulos Affair in contemporary European theatre], Janáčkiana 2016: Ostrava 2016, 51–7
    • M. Zapletal: ‘Apoteóza Sokola, armády a nového člověka: rané recepce Janáčkovy Sinfonietty’ [The apotheosis of Sokol, the army and the ‘new man’: early reception of Janáček’s Sinfonietta], HV, vol.53 (2016), 257–87
    • M. Zapletal: ‘Proměny a konstanty Helfertova psaní o Janáčkovi’ [Transformations and constants in Helfert’s writings about Janáček], Musicologica brunensia, 50/2 (2016), 237–71
    • M. Zapletal: Vybrané problémy janáčkovské recepce [Selected problems in Janáček reception] (diss., Masaryk U., Brno, 2017)
    • M. Zapletal: ‘Suita a Idylla Leoše Janáčka: jejich recepce a programnost’ [Leoš Janáček’s Suite and Idyll: their reception and programmatic elements], HV, no.55 (2018), 57–77
    O: Edition problems
    • M. Beckerman: ‘Janáček’s Notation Revisited: an Interview with Jarmil Burghauser’, Notes, second ser., 41/2 (1984), 249–58
    • J. Burghauser and others: Leoš Janáček: souborné kritické vydání díla, program edice (Kassel, 1988); Eng. as Leoš Janáček: Complete Critical Edition, The Programme of the Edition (Kassel, 1990)
    • M. Štědroň: ‘Leoš Janáček: 2. smyčcový kvartet “Listy důvěrné”: úvahy před kritickým vydáním’ [Leoš Janáček: String Quartet No. 2 ‘Intimate Letters’: reflections before a critical edition], Fenomén Janáček včera a dnes: Brno 2004, 55­–61
    • J. Zahrádka: ‘Několik slov k problémům kritické edice Glagolské mše’ [Some words on the problems of a critical edition of the Glagolitic Mass], Fenomén Janáček včera a dnes: Brno 2004, 63–8
    • M. Freemanová: ‘Naléhavá otázka: Janáček pod kuratelou?’ [An urgent question: Janáček in the custody of a guardian], Leoš Janáček světový a regionální: [Ostrava] 2008, 179–80
    • J. Tyrrell: ‘Janáček Editions at 2010: a Personal Overview’, Brio, 47/2 (2010), 19–35
    • J. Hájek: ‘“Well, I Make a Lot of Racket, and Lightning Also”: a New Edition of the Glagolitic Mass’, Czech Music Quarterly (2011), no.4, pp.36–43
    • J. Zahrádka: ‘Leoš Janáček a souborné vydání jeho díla’ [Leoš Janáček and the collected edition of his works], OM, vol.47/6 (2015), 21–37
Music & Letters
Musical Times
Deutsches Jahrbuch der Musikwissenschaft
Österreichische Musikzeitschrift
Archiv für Musikwissenschaft
Revue musicale
Journal of Musicological Research
Muzikološki zbornik
Hudební rozhledy
Opus musicum
Hudební veda
Casopis Moravského musea [muzea, 1977-]
Journal of the Royal Musical Association
Studien zur Musikwissenschaft
Die Musikforschung
Sborník prací filosofické [filozofické] fakulty brnenské university [univerzity]
The New Grove Dictionary of Opera
Neue Zeitschrift für Musik
Musical Quarterly
Hudební revue
Beiträge zur Musikwissenschaft