Fortune

Miss Fortune by British composer Judith Weir is a contemporary re-telling of a Sicilian folk story. Tina’s wealthy family lose all their possessions overnight and she is thrown into a life ofpoverty. When her life’s course turns from bad to worse she makes a date with Fate. Her fortunes mysteriously change and after several fortuitous happenings she regains wealth and possibly a husband.The opera exploreswhat it means to be rich or poor; the mysteries of everyday life; and the effects of chance luck and accident on human existence.Miss Fortune had its premiere at the Bregenz Festival in summer 2011.

Fortune (?La chance?) est une œuvre pétillante en bulles irisées du compositeur et arrangeur lituanien Kazys Daugela (*1960). La mélodie est légère et tourbillonnante le caractère est joyeux. Fortune est un show fascinant plein d?énergie.

In style of a radio play based on a Taoist tale-Based on an ancient Taoist fable about a small village farmer whose fortune continually changes through a chain of interconnected events. Singers are divided into two character groups the narrator and the villagers and a soloist sings the role of the farmer. The moral of the story: You never know keep on going. All is not as it first appears.

Voix et tous instruments (flute, violon, violoncelle, clavier…) Table des matières : MacCrimmon’s Lament, Cha Til MacCriman - Jane Fraser Morison Johnnie Cope - James Gillespie Laughlan’s Lilt - James Oswald Lochaber - William Thomson Etrik Banks - William Thomson Loch - Erroch Side - Thomas Oliver & George Boyd The Flower of Edinburgh - James Oswald Lady Mary Hay’s Scotch Measure - Nathaniel Gow The Fyket - Niel Gow Miss Bisset Logierait’s Reel - Malcolm McDonald Was ye at the Bridal - James Oswald The Cadgers of the Cannongate - Niel Gow Kennet ’s Dream - James Oswald The Princess Royal - Niel Gow Logan Water (For ever Fortune) - William Thomson Mrs Judge - Turlough O’Carolan John Anderson my jo (instrumental) - James Oswald John Anderson my jo (chant) - Thomas Oliver & George Boyd For our lang biding here - William Thomson Joy gae wi ’my love - Niel Gow The Flaughter Spade - David Young Patrick McDonald ’s Jig - Patrick McDonald Benney Side - James Oswald Pearlin Peggie ’s Bonny, or, The laird of Foveran - William Christie The Gum - ga ’d Aber - Gairdyn Manuscript Adew Dundee - Skene Manuscript Bonny Dundee - Variation François Lazarevitch Moc Donogh ’s Lamentation - Daniel Wright Saw na ye my Peggie (chant) - William Thomson Saw na ye my Peggie (instrumental) - William McGibbon Muirland Willie - William Thomson The Wawking of the Faulds - William Thomson I wish I wou’d marry me - Robert Bremner An caora crom - David Young Ratha Fair - Niel Gow Haud the lass till I come at her - Thomas Wilson Clean Peas Strae - Niel Gow Auteurs : Robert Bremner, William Christie, Jane Fraser Morison, James Gillespie, Nathaniel Gow, Niel Gow, Malcolm McDonald, Patrick McDonald, William McGibbon, Turlough O’Carolan, Thomas Oliver & George Boyd, James Oswald, William Thomson, Thomas Wilson, Daniel Wright, David Young Gairdyn Manuscript, Skene Manuscript Arrangements et variations : François Lazarevitch

Par BACH JOHANN-SEBASTIAN. It was 1995 when I had the fortune to listen to the freshly published recording of the suites performed by Mstislav Rostropovich. I would have given anything to be able to play them, and this was what inspired me to study the bass clarinet. The series of diverse emotions which I subsequently experienced made me see Music in a completely new way. I began learning them slowly, inevitably adapting the text. As I discovered their educational value, the knowledge of harmonic structures, forms and stylistic features gradually evolved within me. Over 20 years I have studied various editions and listened to the meaning which these suites have had for many famous performers. Ipleasantly discovered the commendable work of other clarinettists who in turn have dedicated themselves to approaching this composer with the bass clarinet. The objective of this version isn't to impose conditions on how to play the suites. We carried out unique research into the coherence of the text, based on the manuscripts of Anna Magdalena Bach and Johann Peter Kellner. The choice to remove any type of articulation and agogic was made in order to encourage the development of personal interpretation, which obviously requires a fundamental investigation of the sources. This edition comes with 4 versions of the suite. The reason behind producing four versions (which are in different keys and tones) is because every musician has their own tastes and tendencies. Personally, I prefer the bass clef transposed to B flat because I find the bass clef to be the most appropriate for the spirit of the low instrument. It was 1995 when I had the fortune to listen to the freshly published recording of the suites performed by Mstislav Rostropovich. I would have given anything to be able to play them, and this was what inspired me to study the bass clarinet. The series of diverse emotions which I subsequently experienced made me see Music in a completely new way. I began learning them slowly, inevitably adapting the text. As I discovered their educational value, the knowledge of harmonic structures, forms and stylistic features gradually evolved within me. Over 20 years I have studied various editions and listened to the meaning which these suites have had for many famous performers. Ipleasantly discovered the commendable work of other clarinettists who in turn have dedicated themselves to approaching this composer with the bass clarinet. The objective of this version isn't to impose conditions on how to play the suites. We carried out unique research into the coherence of the text, based on the manuscripts of Anna Magdalena Bach and Johann Peter Kellner. The choice to remove any type of articulation and agogic was made in order to encourage the development of personal interpretation, which obviously requires a fundamental investigation of the sources. This edition comes with 4 versions of the suite. The reason behind producing four versions (which are in different keys and tones) is because every musician has their own tastes and tendencies. Personally, I prefer the bass clef transposed to B flat because I find the bass clef to be the most appropriate for the spirit of the low instrument./ Répertoire / Clarinette Basse Solo

pour voix égales & piano Titres séparés : Vilanelle « Ländliches Lied », opus 29 n°1 — Aurore de la vie « So wahr di Sonne », opus 37 n°12 — Chanson de mai « Mailied », opus 103 — À l' étoile du soir « An den abendstern », opus 103 — Le Lys et les Coccinelles « Schön Blümelein », opus 43 n°3 — Beau mois de mai« Mailied », opus 79 — La Fortune « Das Glück », opus 79 — Chanson d' autrefois « Wenn ich ein Vöglein wür », opus — Les Hirondelles « Dis Schwalhen », opus 79 — Chanson d' avril « Frühlingslied », opus 103 — Berceuse « Wirgenlied », opus 78 n°4 — Au rossignol « An die Nachtigall », opus 103

As he did before in the often played and commonly appreciated ‘Lord Tullamore’ in which he poetically depicted the landscape and the cultural elements of a small Irish village in his composition ‘The Road to the West’ Carl Wittrock has sketched pioneer existence in America in a cinematic manner.In ‘The Road to the West’ the composer has tried to capture images of pioneer life during the period dating from 1850 to 1890 the days of the so-called Wild West.In those days the Wild West used to be the territory west of civilization the domain of cowboys trappers and other fortune hunters. In short ample ingredients for a captivating story.In the firstscene a lonely adventurer struggles against nature and the elements. After an exciting adventure he passes through ‘the Plains’ where majestic views alternated by colossal mountain ranges display an almost unimaginable beauty.After weeks of isolation civilization is reached again. ‘The Saloon’ is the perfect meeting place – here news is exchanged and hilarious scenes regularly take place.

As he did before in the often played and commonly appreciated ‘Lord Tullamore’ in which he poetically depicted the landscape and the cultural elements of a small Irish village in his composition ‘The Road to the West’ Carl Wittrock has sketched pioneer existence in America in a cinematic manner.In ‘The Road to the West’ the composer has tried to capture images of pioneer life during the period dating from 1850 to 1890 the days of the so-called Wild West.In those days the Wild West used to be the territory west of civilization the domain of cowboys trappers and other fortune hunters. In short ample ingredients for a captivating story.In the firstscene a lonely adventurer struggles against nature and the elements. After an exciting adventure he passes through ‘the Plains’ where majestic views alternated by colossal mountain ranges display an almost unimaginable beauty.After weeks of isolation civilization is reached again. ‘The Saloon’ is the perfect meeting place – here news is exchanged and hilarious scenes regularly take place.