Diary of a Runagate

„I am finishing my life’s work—although it is not in the shape that I would wish it to be.” - Leoš Janáček 5 Oct. 1919

Team Zápisník!

Marian Marsh Professor of Applied Music

Nate Ben-Horin Pianist

Janice Gartin Wardrobe

Gabrielle Lochard, soprano Ana Miranda, mezzo-soprano Signa Love, alto

Special thanks to the Trustees of the British Museum!

About our Iron Age linchpin​: Artifact 1847.0208.77 from the museum’s permanent collection was reproduced in London by the museum’s 3D photography staff​–a ​ nd delivered to me electronically as state-of-the-art 3D image files. My multicolor facsimile uses S ​ culpteo​’s advanced 3D systems.

Peeking at the ​Diary

In 1992 a group of undergraduate students at Dominican College gave a reading of ​Janáček’s ​Diary​—with only about 6 rehearsals! Robert Shulz was the faculty pianist, and I sang the tenor part. Since 1992 I have performed in many traditional operas: works by Mozart, Verdi and Wagner...Stravinsky, Hindemith and Britten. With its hybrid format—different from art song, certainly not an opera, D ​ iary​ remains the mightiest challenge of my music life...​Let’s do this!

David (BA ‘01) lives in San Francisco, and in 2018 was granted e-Residency in Estonia. His fifth-great grandfather John Phillips was an immigrant to North America.

18th century court records indicate John was a civic leader before the American Revolution (despite being a pacifist). Tax and census records show the family owned land, but no slave.

Born and raised on the Southern edge of the North American High Plains, after finishing public school David was made Secretary to Maestro Nicola Rescigno. The Italian-American conductor and impresario is known for work in the b ​ el canto repertoire and for regularly presenting the US debuts of important foreign-born artists. With the chorus of The Dallas Opera, David sang under Maestro Roberto Benaglio, also chorus master of La Scala, Milan and the Vienna State Opera.

He left Dallas in 1988 to attend Dominican College, studying voice with John Hudnall as an undergraduate music major. In 1991 he was awarded a special scholarship from The Bernard Osher Foundation (later the foundation endowed a permanent scholarship at Dominican). After 1992, he coached privately with Maestro Jiři Pokórny, chorus master of the Czech National Opera (‘93), sang in Barcelona’s Viñas Competition (‘97) and was part of the auxiliary chorus of San Francisco Opera under Maestro Ian Robertson (‘96-’00). In Marin, Sonoma and San Francisco community productions, he sang leading tenor roles—mostly in works of the 20th century.

David Jon Phillips Professors Marian Marsh & Y. June Oh Music 5503 12 March 2018

Diary of a Runagate

Mowing

There was never a sound beside the wood but one, And that was my long scythe whispering to the ground.

What was it it whispered? I knew not well myself; Perhaps it was something about the heat of the sun, Something, perhaps, about the lack of sound— And that was why it whispered and did not speak.

It was no dream of the gift of idle hours, Or easy gold at the hand of fay or elf: Anything more than the truth would have seemed too weak To the earnest love that laid the swale in rows, Not without feeble-pointed spikes of flowers (Pale orchises), and scared a bright green snake.

The fact is the sweetest dream that labor knows.

My long scythe whispered and left the hay to make.

Robert Frost

Leoš Janáček (1854-1928) Diary of a Runagate Zápisník zmizelého​, JW V/15 (1919) After poems by Ozef Kalda, Z ​ péra samoukova​, “From a Self-taught Pen.”

 I.

Andante ​3/đ?… ​/​2/đ?… .​ (đ?…&#x;.=76)​ – ​ ​P ​ otkal jsem cigĂĄnku – ​ I met a gypsy Â

  Potkal jsem mladou cigĂĄnku,  nesla sa jako laĹˆ,  pĹ™es prsa Ä?ernĂŠÂ Â lelĂ­ky a oÄ?i bez dna zhlaĹˆ.  Pohledla po mnÄ› zhlboka,  pak vznesla sa pĹ™es ​1​peĹˆÂ Â a tak mi v hlavÄ› ostala  pĹ™es ce luÄ?kĂ˝, celuÄ?kĂ˝ deĹˆ.  Â

I met a young gypsy  she moved like a doe  Black braids over her breasts  How deep her eyes.  She stared me down,  then leapt over a treefall.  She’s in my head  the whole day.  Â

II.

Con moto 2 ​ ​/đ?… ​ (đ?… =83)​ – ​ ​T ​ a Ä?ernĂĄ cigĂĄnka ​– Dark gypsy Â

  Ta Ä?ernĂĄ cigĂĄnka kolem sa posmÄ›tĂĄ,  proÄ? sa tady drŞí, proÄ? sa tady drŞí,  proÄ? nejde do svÄ›ta? ProÄ? nejde,  proÄ? nejde do svÄ›ta?   Byl bych snad veselĹĄĂ­,  gdyby odjĂ­t chtÄ›la;  ťel bych sa pomodlit  hnedkaj do kostela.  Â

That dark gypsy’s lurking  Why does she stay?   Why in the world don’t you go ?   I’d be happy  if she left.  Then I’d go pray  in the church.  Â

III. Andante ​3​/đ?… ​ ​(đ?…&#x;.=52)​ – ​ ​S ​ vatojanskĂŠ muĹĄky – ​ Fireflies dance    SvatojanskĂŠ muĹĄky tanÄ?Ă­ja po hrĂĄzi,  Fireflies dance along the dam,  gdosi sa v podveÄ?er podle nĂ­ prochĂĄzĂ­.  in twilight someone rambles ’round.  NeÄ?ekaj, nevyjdu,  Don’t wait; I’m not coming,  nedĂĄm jĂĄ sa zlĂĄkat,  I will not be tempted and  mosela by po tĂŠj mĂĄ mamÄ›nka plakat.  cause my mother to weep.    MÄ›sĂ­Ä?ek zachodĂ­, uĹž nic vidÄ›t nenĂ­,  The moon fades, all is darkness;  stojĂ­ gdosi, stojĂ­, v naĹĄem zĂĄhumenĂ­.  someone’s standing on our land.    Dvoje svÄ›tĂŠlka zåříja do noci.  Two eyes shine in the night  Pane BoĹže, pane BoĹže nedaj!  Lord God, don’t allow this,  Stoj mi, stoj mi ku pomoci!  Stand by me and help me! Â

IV. Andante ​2/đ?… .​ ​ (đ?… .=76)​ ​–​ U ​ Ĺž mladĂŠ vlaĹĄtĂşvky ​– Baby swallows    UĹž mladĂŠ vlaĹĄtĂşvky ve hnĂ­zdÄ› vrnoŞí,  Baby swallows tweet in their nests,  2​ leĹžal sem celĂş noc jako na ​ trnoĹži.  I lay all night as if on tumbleweeds.  UĹž sa aj svĂ­tĂĄnĂ­ na nebi patrnĂ­,  Dawn;  leĹžal sem celĂş noc jako nahĂ˝ v trnĂ­. ...as  if naked on thorns.   Â

   V. Adagio ​2/đ?… ​ ​ (đ?… =44)​ – ​ ​ ​TěŞko sa mi oĹ™e ​– Plowing    TěŞko sa mi oĹ™e,  It’s hard plowing  vyspal sem sa mĂĄlo,  I slept so badly  a gdyĹž sem odespal:  When I finally slept  o nĂ­ sa mi zdĂĄlo. OnĂ­ sa mi zdĂĄlo.  she filled my dreams.   Â

VI. Allegro 3 ​ ​/đ?… ​ ​(đ?…&#x;.=63)​ ​–​ H ​ ajsi!, vy sivĂ­ volci ​– Hey, you gray oxen    Hajsi!, vy sivĂ­ volci, bedlivo orajte,  Hey, you grey oxen, plow carefully,  3​ nic vy se k ​ olĹĄinÄ› nic neohledajte!  Don’t look toward the alder trees;   don’t look!  Ode tvrdĂŠj zemÄ› pluh mi odskakuje,  My plow recoils off the hard earth;  strakatĂ˝ fÄ›rtúťek listĂ­m pobleskuje.  A colored scarf glimmers in the leaves.    Gdo tam na mne Ä?ekĂĄ nech raÄ?i  Who’s stalking me should turn to  zkamenĂ­Â Â stone  moja chorĂĄ hlava v jednom je plameni.  My aching head is on fire.  Gdo tam na mne Ä?ekĂĄ, nech raÄ?i  Who’s stalking me should turn to  zkamenĂ­.  stone.    VII. Con moto ​3​/đ?… ​ ​(đ?…&#x;.=63)​ ​–​ Z ​ tratil sem kolĂ­Ä?ek ​– The linchpin is lost    Ztratil sem ​4​kolĂ­Ä?ek, ztratil sem  The linchpin is lost  od nĂĄpravy,  off the axle,  postojte, voleÄ?ci, postojte,  Hold on, oxen, hold it;  novĂ˝ to vyspravĂ­.  I’ll fix this.  PĹŻjdu si pro nÄ›ho rovnĂş jĂĄ do seÄ?e.  I can get one by the clearing.  Co komu sĂşzeno, tomu neuteÄ?e!  Destiny is inescapable.  Â

Â

 VIII. Andante 3 ​ ​/đ?… ​ (​ đ?…&#x;.=50)​ – ​ ​N ​ ebojte sa o mne ​– Don’t worry about me     NehleÄ?te, voleÄ?ci, tesklivo k 5​​ ĂşvratĂ­m,  Don’t stare, my oxen, sadly at the   turnrow,  nebojte sa o mne,  Don’t worry about me,  ťak sa vĂĄm neztratĂ­m!  I won’t go astray.    StojĂ­ Ä?ernĂĄ Zefka v olĹĄinÄ› na kraju  There’s dark Zefka by the alder grove;  temnĂŠ jejĂ­ oÄ?i jiskrĂş ligotajĂş.  in the dark her eyes are sparklers.    Nebojte sa o mne,  Don’t worry about me,  aj gdyĹž k nĂ­ pĹ™ikroÄ?Ă­m,  even if I go near her,  dokĂĄĹžu zdorovat uhranÄ?livĂ˝m oÄ?Ă­m.  I’ll prove I can resist those wicked  eyes.    IX.

—2 ​ /đ?… .​ ​ (đ?… .=66)​ – ​ V ​ Ă­taj, JanĂ­Ä?ku ​– Welcome, Ian Â

  „VĂ­taj, JanĂ­Ä?ku, vĂ­taj tady v lese!  JakĂĄ ĹĄĹĽastnĂĄ trefa, ĹĄĹĽastnĂĄ trefa,  ża sem cestĂş nese?  VĂ­taj, JanĂ­Ä?ku! Co tak tady stojĂ­ĹĄ?  Bez krve, bez hnutĂ­, Ä?i snad sa  mne bojĂ­ĹĄ?“   „NemĂĄm jĂĄ sa vÄ›ru, nemĂĄm sa koho  bĂĄt,  4​ pĹ™iĹĄel sem si enom ​ nĂĄkolnĂ­Ä?ek uĹĽat.“   „NeĹ™eĹž mĹŻj JanĂ­Ä?ku, neĹ™eĹž 4​​ nĂĄkolnĂ­Ä?ku!  RaÄ?i si poslechni cigĂĄnskĂş pÄ›sniÄ?ku!“   Ruky sepjala, smutno zpĂ­vala,  truchlĂĄ pÄ›sniÄ?ka srdcem hĂ˝bala​.  Â

„Welcome, Ian, welcome to the forest!  What stroke of luck  brings you ’round?  Welcome, Ian! Why the stance?  Ashen, motionless, perhaps you  fear me?“   „I truly have nothing to fear.   I came only to fetch a linchpin.“   „Don’t cut, Ian, don’t cut a linchpin!  Come hear a gypsy song!“   Hands together, sadly she sang,  A mournful heartbreaking song​.     Â

  X. Un poco piĂš mosso 2 ​ /đ?…&#x;​ ​ ​–​ D ​ aj mi poznat – ​ Let me know    „BoĹže dĂĄlnĂ˝, nesmrtelnĂ˝,  „God, far off and immortal,  proÄ?´s cigĂĄnu Ĺživot dal?  Why did you give life to the gypsy,  By bez cĂ­le blĂşdil svÄ›tem,  To aimlessly roam the world,  ťtvĂĄn byl jenom dĂĄl a dĂĄl?  Hunted and displaced.    „RozmilĂ˝ JanĂ­Ä?ku, Ä?ujeĹĄ i skĹ™ivĂĄnky?  „Earnest Ian, do you hear the skylark?  PĹ™isedni si pĹ™eca podlevĂĄ cigĂĄnky!“  Sit down here, close to your gypsy.“    (​TruchlĂĄ pÄ›sniÄ?ka srdcem hĂ˝bala​)  (​A mournful song...moves the heart​)    „BoĹže mocnĂ˝, milosrdnĂ˝!  „God, mighty and merciful,  NeĹž v pustĂŠm svÄ›tÄ› zahynu,  Before I depart the desolate world,  daj mi poznat, daj mi cĂ­tit, daj mi cĂ­tit.  Let me know; give me some feeling!    (​SmutnĂĄ pÄ›sniÄ?ka srdcem hĂ˝bala​)  (​Such a sad song...moves the heart​)    „Pořåd tady enom jak solnĂ˝ slp stojĂ­ĹĄ,  „You stand there like a pillar of salt,  vĹĄecko mi pĹ™ipadĂĄ, Ĺže sa ty mne bojĂ­ĹĄ.  ...sure seems like you fear me.  PĹ™isedni si blĂ­Ĺžej, ne tak zpozdaleka,  Sit closer, not so far;  Ä?i ĹĽa moja barva pĹ™eca enom lekĂĄ?  my color makes you skittish?  Nejsu jĂĄ tak Ä?ernĂĄ jak sa ti uzdĂĄvĂĄ,  I’m not as black as you think‌  gde nemoĹže slnce, jinĹĄĂ­ je postava!“  where the sun don’t shine there’s a   difference.“    KoĹĄulku na prsoch krapeÄ?ku shrnula,  She drops the shift from her breasts;  jemu sa vĹĄecka krev do hlavy vhrnula​.  the blood rushes to his head. Â

   XI.

Con moto 2 ​ ​/đ?…&#x;​ ​(đ?…&#x;​ =96​) – ​ ​T ​ ĂĄhne vĹŻĹˆa k lesu – ​ Aroma fills the forest Â

  TĂĄhne vĹŻĹˆa k lesu z–rozkvetlĂŠÂ Â pohanky–   „ChceĹĄi, Janku, vidÄ›t,  jak spĂ­ja cigĂĄnky?“   HalĂşzku zlomila, kameĹˆ odhodila.  „ToĹž uĹž mĂĄm ustlanĂŠ,“  v smĂ­chu prohodila.   „Zem je mi za polĹĄtĂĄĹ™,  nebem sa pĹ™ikrĂ˝vĂĄm  a rosĂş schladlĂŠ ruce  v klĂ­nÄ› si zahřívĂĄm.“   V jednĂŠj sukĂŠnce na zemi leĹžala   a moja poctivost plĂĄÄ?em usedala. Â

Aroma fills the forest–flowering  buckwheat–  „Wanna see, Ian,  how the gypsy sleeps?“   Broken twigs; place some stones.  „I’ve got this,“  she snickered.   „Soil is my pillow,  heaven is a cover  If dew makes my hands cold  I warm them here in my lap.“   In one last layer  upon the land she’s lain;  I wept as she used my innocence. Â

 XII. —2 ​ /đ?…&#x;​ ​ (​ đ?…&#x;​ =59​)​ – ​ ​Na to ĹĄtvero ​– These four things    TmavĂĄ olĹĄinka, chladnĂĄ studĂŠnka,  Dark alders, cold spring water,  Ä?ernĂĄ cigĂĄnka, bĂ­lĂŠ kolĂŠnka:  Black gypsy, white knees  na to ĹĄtvero, co Ĺživ budu,  These four things, as long as I live,  nigdy jĂĄ uĹž nezabudu.  Will not be forgotten.    XIII. Â

Andante 2 ​ /đ?…&#x;​ ​ (​ ​đ?…&#x;=60​)​ – ​ ​(P ​ iano solo​)  Â

XIV. Adagio​ 4​/đ?…&#x;​ (​ ​đ?…&#x;=92​)​ ​–​ S ​ lnĂŠÄ?ko sa zvihĂĄ ​– Sunrise    SlnĂŠÄ?ko sa zvihĂĄ, tĂ­n sa krĂĄtĂ­.  The sun rises, shadows shorten.  Oh! ÄŒeho sem pozbyl,  Oh, what have I lost,  Gdo mi to navrĂĄtĂ­?  Who can give it back?  Â

(fr. JA MZM)

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XV. Allegro ​3/đ?…&#x;​ ​ (​ đ?…žâ€‹ .=76​)​ – ​ ​C ​ o na mne hledĂ­te ​– What are you looking at?    Moji sivĂ­ volci, co na mne hledĂ­te?  My grey oxen, what are you   looking at?  Esli vy to na mne, esli vy povĂ­te!  Are you going to tell on me,   going to talk?  Nebudu jĂĄ biÄ?a na vĂĄs ĹĄanovat,  I won’t spare the rod,  budete to potem budete banovat.  You will regret it.  NejhorĹĄĂ­ vĹĄak bude, vrĂĄĹĽa sa k polednu,  The worst will be when I go home   at noon and  jak jĂĄ jen mamÄ›nce do oÄ?Ă­ pohlednu! can’t  look my mother in the eyes.     XVI. Adagio​ 7​/đ?…&#x;​ ​(đ?…&#x;​ =112​)​ – ​ ​ ​Co sem to udÄ›lal – ​ What have I done?    Co sem to udÄ›lal?  What have I done?  JakĂĄ to vzpomnÄ›nka!  The memory won’t go away  GdyĹž bych jĂĄ mÄ›l pravit  Could I call a  cigĂĄnce: mamÄ›nka.  gypsy mother...or a  CigĂĄnce mamÄ›nka, cigĂĄnu tatĂ­Ä?ek,  gypsy father?  raÄ?i bych si uĹĽal  I’d rather chop a finger  od ruky malĂ­Ä?ek!  off my hand!    VyletÄ›l skĹ™ivĂĄnek  A skylark flew,  vyletÄ›l z oĹ™eĹĄĂ­,  flew out of the nut tree  moje truchlĂŠ srdce nigdo nepotěťí.  My troubled heart    cannot shake this off.    XVII. Recit. ​2/đ?…&#x;​ ​ (​ ​đ?…&#x;=56​)​ – ​ ​C ​ o komu sĂşzeno – ​ Whatever’s fated    Co komu sĂşzeno, tomu neuteÄ?e.  Whatever’s fated is inescapable.  SpÄ›chĂĄm jĂĄ vÄ?il Ä?asto  High tail it  6​ na veÄ?er do ​ seÄ?e.  in the evening to the mow.  Co tam chodĂ­m dÄ›laĹĽ?  What for?  SbĂ­rĂĄm tam jahody.  To gather strawberries.  LĂ­steÄ?ek odhrĹˆa, uĹžijeĹĄ lahody.  Set aside the leaves, enjoy a treat.   Â

XVIII. L´istesso tempo 2 ​ /đ?…&#x;​ ​ (​ ​đ?…&#x;=56​)​ – ​ ​ ​NedbĂĄm jĂĄ vÄ?il o nic – ​ I don’t care about nothing      NedbĂĄm jĂĄ vÄ?il o nic,  I don’t care about nothing,  neĹž aby veÄ?er byl,  only twilight’s coming,  abych jĂĄ si s Zefkú  I’ll be with Zefka and  celĂş noc pobyl.  stay all night.    PovĹĄeckĂ˝m kohĂştom  As for the cocks,  hlavy bych zutĂ­nal,  I should chop off their heads,  to aby ŞådnĂ˝ z nich svĂ­tĂĄnĂ­ nevolal.  so they can’t herald the dawn.    Gdyby chtÄ›la noc na vÄ›ky trvati,  If night never ended,  abych jĂĄ na vÄ›ky mohl milovati!  I could make love forever!    XIX. Andante 2 ​ /đ?…&#x;​ ​ (​ ​đ?…&#x;=69​)​ – ​ ​L ​ etĂ­ straka, letĂ­ – ​ Fly, magpie, fly    LetĂ­ straka, letĂ­, křídlama chlopotĂĄ,  Fly magpie, fly, wings a-flapping,  ztratila sa sestĹ™e koĹĄulenka  My sister’s blouse went missing  z plota.  from the garden.  Gdo jĂ­ ju ukradl? Oj, gdyby vÄ›dÄ›la,  Who took it? Oh, if she finds out,  vÄ›ckrĂĄt by se mnĂş Ĺ™eÄ?novat nechtÄ›la.  she’ll never speak to me again.    Oh, BoĹže, rozboĹže,  God a’mighty  jak sem sa promÄ›nil,  How I’ve changed,  jak sem svĂŠ myĹĄlenky  My thoughts  ve svĂŠm srdci zmÄ›nil.  and even my heart are different.    Co sem sa modlĂ­val,  I used to pray,  uĹž sa hlava zbyla,  now I’m out of my mind,  jak gdyby sa pĂ­skem zhlybeĹˆ zařútila!  it’s like sand is sifting into my head.    XX. Con moto ​2/đ?…&#x;​ ​ (​ ​đ?…&#x;=100​)​ – ​ ​M ​ ĂĄm jĂĄ panenku ​– I’ve a sweetheart    MĂĄm jĂĄ panenku ale po, po, po  I’ve a sweetheart...up...the knees,  kolenka,   uĹž sa jĂ­ zdvihĂĄ reĹžnĂĄ ko, ko, koĹĄulenka. Watch her blouse fly off.   Â

XXI. Meno mosso ​2/đ?…&#x;​ ​ (​ đ?…&#x;​ =84​)​ – ​ ​ ​MĹŻj drahĂ˝ tatĂ­Ä?ku – ​ My dear father    MĹŻj drahĂ˝ tatĂ­Ä?ku, jak vy sa mĂ˝lĂ­te,  My dear father, how you’re wrong,  Şe sa jĂĄ oĹženĂ­m, kterĂş mi zvolĂ­te.  That I’d marry your choice.    KaĹždĂ˝, gdo pochybil, nech trpĂ­ za vinu:  Screw up and you must suffer for it:  svojĂŠmu osudu rovněŞ nevyminu!  From my fate there is no escape!     XXII.

Andante 2 ​ /đ?… .​ ​ (đ?… .=66)​ – ​ ​S ​ bohem, rodnĂ˝ kraju – ​ Goodbye, native land Â

  Sbohem, rodnĂ˝ kraju,  sbohem, mĂĄ dÄ›dino!  NavĹždy sa rozlĂşÄ?it, zbĂ˝vĂĄ mi jedino.  Sbohem, mĹŻj tatĂ­Ä?ku, a i vy, mamÄ›nko,  sbohem, mĂĄ sestĹ™iÄ?ko,  mĂ˝ch oÄ?Ă­ 7​​ pomÄ›nko!   Ruce vĂĄm obtĂşlĂĄm,  ŞådĂĄm odpuĹĄtÄ›nĂ­,  uĹž pro mne nĂĄvratu  ŞådnĂş cestĂş nenĂ­!   Chci vĹĄechno podniknĂşt,  co osud poruÄ?Ă­.  Zefka na mne Ä?ekĂĄ,  se synem v nĂĄruÄ?Ă­!  Â

Goodbye, native land,  goodbye, my village!  Leaving is my only option.  Goodbye, my father, and you, mother,  goodbye my sister,  apple of my eye!   As I kiss your hands,  please let this go,  ...too late to change things now!    Every part of me wants to obey  what fate commands.  Zefka’s waiting for me,  with my son in her arms. Â

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Translation Notes 1/ peň

treefall:​ a felled tree trunk, creating a berm

2/ trnoži

tumbleweed: the A ​ maranthaceæ​ flowering plant K ​ ali tragus​ (native to Eurasia) is the so-called "Russian thistle," introduced to Western North America in shipments of flax seeds, perhaps about 1870.

3/ olšině

alder (tree) ​Alnus​, belongs to the birch family B ​ etulaceæ​.

4/ kolíček /[ná] kolníček linchpin/linch-pin 5/ úvratím

turnrow: a ploughed berm at the (headland) edge of a field

6/ seče

mow: fresh, drying cuttings, as a barley mow or a hayrick

7/ (mých očí) poměnko

apple (of my eye) (​fr. Lat. pomum, Fr. pomme​) Instead of jablko​ (also meaning apple), choosing poměnko makes a poetic allusion to a near-homophone: p ​ omněnko​ (add’l n ​ )​ , the “Forget-me-not” flower in the family B ​ oraginacæ​, genus m ​ yosotis​. __________ References

Cheek, Timothy. S ​ inging in Czech: A Guide to Czech Lyric Diction and Vocal Repertoire​. Lanham, MD: Rowman & Littlefield. 2015. Print.

Heaney, Seamus (trans./adapt.) in: Janáček, Leoš, Seamus Heaney, and Ozef Kalda. D ​ iary of One Who Vanished: A Song Cycle​. New York: Farrar, Straus and Giroux, 1999. Print.

Janáček, Leoš. Souborné Kritické Vydání Děl Leoše Janáčka =: Complete Critical Edition of the Works of Leoš Janáček, Series E / Volume 4, Zápisník Zmizelého =: The Diary of One Who Disappeared​. Brno: Editio Janáček. 2004. Musical score.

Janáček, Leoš. Zápisník Zmizelého: Pro Tenor, Alt, Tři Ženské Hlasy a Klavír = the Diary of One Who Disappeared​. Kassel : Bärenreiter. 2016. Musical score.

Keefe, Bernard (trans.) in: J​ anáček, Leoš, Bernard Kee e. Zápisník Zmizelého: Pro Tenor, Alt, Tři Ženské Hlasy a Klavír : Na Slova Neznámého Básnika = the Diary of One Who Vanished​. Praha: Editio Supraphon, 1978. Musical score.

Kennedy, Paula (trans.) in: ​Janáček, Leoš, Thomas Adès, Diane Atherton, Ian Bostridge, Deryn Edwards, Susan Flannery, Ruby Philogene. ​The Diary of One Who Disappeared: Piano Works​. London: EMI Classics, 2001. CD-ROM.

(JA MZM=Janáček Archive of the Moravian Museum in Brno)