Bach-Vivaldi Concerto BWV 972 and RV230: Flugelhorn & Keyboard Part(s)

Ulrich's rescoring places this Vivaldi concerto firmly in the flugelhorn soloist's wheelhouse without sacrificing the work's baroque energy or structural integrity. The key modification removes the punitive high passages that made the piccolo trumpet version grueling, letting players focus on the lyrical and technical demands that actually showcase the instrument's warm, singing voice.

Rhythmically propulsive and lyrical in turns, with the kind of singable melodic logic that makes Vivaldi instantly recognizable. The flugelhorn's warm, rounded tone brings an almost vocal quality to the fast passagework, transforming what could feel brilliant and aggressive (on piccolo trumpet) into something more introspective and elegant.

Flugelhorn soloists seeking repertoire beyond the standard brass concerto literature, particularly those who want to explore Baroque idiom without the extreme range demands of works originally written for higher instruments. This piece works equally well for advanced high school soloists and college-level players building a recital program.

• Anchor the rhythmic foundation with the keyboard player; baroque concertos live or die by a steady, articulate continuo line that gives the soloist harmonic and temporal security.
• Shape each phrase with the melodic contour of the original, even though you're now in a more comfortable register. The architecture of the line is what carries meaning.
• Balance tone production between the lyrical slow sections and the virtuosic fast passages. The flugelhorn's breadth of color is a feature here, not a liability.
• Coordinate articulation choices with your keyboard partner before the first rehearsal. Baroque style calls for clarity, but the flugelhorn's natural mellowness means you have interpretive freedom within that framework.

Pair this with other Baroque or neo-Baroque brass repertoire for a thematic recital, or program it alongside 20th-century works that reference Vivaldi to create an interesting historical conversation. It also serves as an excellent centerpiece for a chamber concert showcasing collaborative keyboard-brass partnerships.

• Baroque phrasing and ornamentation conventions
• Balancing lyrical sustained tones with rapid scalar passagework
• Chamber ensemble listening and rhythmic coordination with keyboard continuo
• Stylistically appropriate articulation and breathing within a rapid harmonic rhythm
• Management of technical passages across a comfortable range without sacrificing musical intention