Concerto (from Divertimento in D): Brass Quintet Score & Parts

Bill Bjornes, Jr.'s arrangement opens up a Haydn masterwork to the brass quintet setting, placing the alto trombone in the spotlight without sacrificing the chamber ensemble's musical integrity. This is standard repertoire that now works as genuine five-part writing rather than a keyboard transcription, making it a natural fit for brass quintet festivals, recitals, and competition programs where soloists need substantial, stylistically coherent material.

The Concerto from Haydn's Divertimento carries the elegance and wit of the Classical style, with clean melodic lines that sing clearly and harmonic progressions that feel inevitable. The alto trombone's presence brings a distinctive color to the texture, at once singing and characterful, while the brass quintet provides both nimble accompaniment and moments of harmonic richness that anchor the work.

Alto trombonists seeking repertoire at the upper level of difficulty, along with brass quintets that want a Haydn standard scored authentically for five players rather than as a piano reduction. Directors and coaches programming contest festivals, recitals, and chamber concerts will find this both musically substantial and immediately performable.

• Balance the alto trombone line as a true soloist while keeping the supporting brass voices unified and transparent. The Classical style demands lightness from the accompaniment voices, not cushioning.
• Shape phrases with the harmonic rhythm rather than melodic accent alone. Haydn's divertimento style emphasizes structural clarity, which emerges when the ensemble recognizes where the harmonic motion pulls.
• Establish a conversation between the solo voice and the ensemble. This is chamber music, not a concerto with orchestral backing; the other four players should respond to and support the alto trombone's musical choices.

Pair this arrangement with other chamber works on a mixed brass or chamber music concert to showcase the alto trombone's lyrical capabilities in a repertoire context. It works equally well as a festival competition piece or as part of a recital program where soloists need material that demonstrates both technical fluency and stylistic understanding of the Classical period.

• Playing with transparency in accompanying voices while maintaining ensemble blend
• Phrasing within Classical harmonic structures
• Chamber music balance and communication in a five-part texture
• Alto trombone solo techniques and sustained melodic playing
• Historical style awareness in the Classical era