Includes:Hail, Queen of the HeavensAVE REGINA CAELORUMImmaculate MaryUNKNOWNMaiden Mother, Meek and MildCONCORDI LAETITIAO SanctissimaSICILIAN MARINERS (O DU FRÖLICHE/ O SANCTISSIMA)Hail, Holy Queen, Enthroned AboveSALVE, REGINA CAELITUM Hail, Queen of Heaven, the Ocean StarSTELLAAve MariaAVE MARIA

Harp solo - Medium - Digital Download SKU: MQ.6535-E Composed by David Conte. Secular, 21st century. Score & instrument part. 15 pages. E. C. Schirmer Music Company - Digital #6535-E. Published by E. C. Schirmer Music Company - Digital (MQ.6535-E). Marian Variations for harp solo was written for and is dedicated to harpist Ruth Inglefield, Professor of Harp at the Peabody Conservatory. In 1975, I was a student in Dr. Inglefield's Music History class at Bowling Green State University, where I was pursuing a Bachelor's Degree in Composition. Dr. Inglefield arranged for me to study in Paris with Nadia Boulanger, which I did from 1975-78, making me one of her last composition students and utterly changing my life. This piece is written in gratitude for Dr. Inglefield's vision and generosity.The work is based on my own Ave Maria for SATB chorus which was commissioned in 1991 by the San Francisco male vocal ensemble Chanticleer. Each of the four variations is based on the main melody of the Ave Maria and is separated by interludes built of contrasting material, all leading to a literal statement of the motet after the fourth variation. Thus, though the piece is largely intended for use in solo recitals, it could be played as part of a liturgical service where the motet is also sung. I am grateful to Sonja Inglefield for her expert and detailed editing of the score. Harpists Steve Main and Michael Rado also offered valuable suggestions. -David Conte.

Chamber Orchestra - Digital Download SKU: A0.1035224 Composed by Frederik François Chopin (1810-1949). Arranged by James Strauss. Romantic Period. Score and parts. 33 pages. James Strauss #5806027. Published by James Strauss (A0.1035224). Unless your name is Mozart, Mendelssohn or Korngold, the first compositional steps are always the hardest. Chopin was probably no older than 14 when he set to work on a set of variations for piano and flute. Already in love with opera, he decided on the happy- ending aria, Non più mesta (No longer sad) from Rossini’s opera Cinderella. As the curtain comes down, Cinderella gleefully warbles, No longer sad beside the fire shall I sit alone, singing; my long years of heartache were but a streak of lightning, a dream, a game. We are unsure what actually prompted Chopin to select this for his unique combination of flute and piano, but it was most likely written for the composer’s father who was a capable amateur flute player. In the end, the piece was probably dedicated to Józef Cichowski, a close friend of his fathers and an amateur flautist as well. We are indeed fortunate that this early piece of Chopin juvenilia has actually survived, as Jozef Nowakowski, one of the composer’s friends, kept the single manuscript copy as a memento. For one reason or another, the work did not appear in print until 1953. This charming and fluent set of variations presents the theme and four decorated versions of the original tune. Added triplet figuration enlivens the first variation, while the second relies on a florid bel canto style to embellish the theme. Rapid downward arpeggios propel variation three, and the concluding variant displays rapid staccato figuration. Stylistically, there is nothing in this composition to suggest Chopin’s hand. You certainly won’t hear Chopin’s fingerprint in the piano part, as all the interesting bits are given to the flute. In addition, it’s the only Chopin piano part that can comfortably be played by most amateurs. Clearly, the future poet of the piano had a long way to go! Here in a Flute and orchestra version.