"Durch kleine ritze nimmt man abgründe wahr": an examination of Max Brod's German performing versions of the works of Leoš Janáček

Research Doctorate - Doctor of Philosophy (PhD)This thesis presents a complete survey of the German translations and adaptations by Max Brod of the works of Leoš Janáček. Although there have been thorough studies of Janáček's work, and mention made of Brod's contribution, there has been no historically researched musico-dramatic analysis. This thesis presents an overview of Brod's and Janáček's historical context, and a survey of Brod and his philosophy. It then examines the following Janáček works: the operas <i>Junůfa</i>, <i>Kát'a Kabanová</i>, <i>Přihodý Lišky Bystroušky</i>, <i>Vĕc Makropulos</i>, and <i>Z mrtvého domu</i>, <i>Osud</i> and <i>Výlety pana Broučka</i>. Brod made German versions of all except the last two. Also examined are the song cycle <i>Zapisnik zmizalého</i> and the choruses <i>Kašpar Rucký</i> and the <i>Čtveřice Mužskych Sborů</i>, which he also translated. In each case the process of the translation is traced, using the correspondence between Janáček and Brod, as well as the correspondence of both with Emil Hertzka, the head of the publishing house, Universal Edition. This is followed by a detailed analysis of the work in question, comparing the original text with Brod's German version, with particular emphasis upon the effect in performance of the alterations which Brod made, both intentionally and unintentionally. As a case study, there is an examination of Walter Felsenstein's production of <i>Das schlaue Füchslein</i>, which used a text based on Brod's. The thesis argues that the relationship between Janáček and Brod was much more complex than previously through; and that, contrary to Brod's opinion, Janáček's libretti were not in need of repair. It also argues that Janáček was less complicit in the alterations than believed. The thesis concludes that while Brod's contribution to Janáček's reputation is considerable and undeniable, the German performing versions do Janáček a disservice which misrepresents his dramaturgy and characterisation, based on a fundamental misunderstanding by Brod of the composer's methods and his aesthetic