Concerto Movement I, Op 9 #12: 2 Trumpets & Keyboard Part(s)

David Marlatt's arrangement brings Albinoni's elegant concerto writing into the trumpet section with remarkable clarity. The dual organ scores (D major for piccolo trumpets and B-flat for standard trumpets) eliminate transposition headaches while preserving the original harmonic language. This is Baroque concerto literature at a medium level that sounds and plays authentically.

Elegant and courtly, with the Baroque sense of balance between ornamental writing and structural clarity. The two trumpets weave together in dialogue, supported by the organ's energetic figures and the bass line's gentle grounding. It has the sophistication of a chamber concert without the dense complexity of larger Baroque works.

Medium-level trumpet players ready to tackle genuine Baroque concerto writing in a small ensemble context. This works well for advanced high school players, college brass students, and adult community musicians looking to explore classical repertoire beyond the standard trumpet canon.

• Balance the trumpet voices as equals rather than melody-plus-accompaniment. Both parts maintain thematic material throughout the movement, so give each player authority in their phrases.
• The keyboard part is genuinely busy; ensure your organist has time to prepare and has clarity on which score transposition you're using before the first rehearsal.
• Articulation style matters in Baroque music. Work with both trumpet players to match their tonguing and phrasing, especially in passages where the two parts interact closely.
• The supporting bassoon (or cello/bass trumpet substitute) anchors the harmonic foundation. Its entries should speak clearly without overwhelming the trumpet dialog.

Program this as a contest or festival entry where chamber brass showcases attract audiences. Alternatively, it pairs naturally with other Baroque duet literature or as a bridge between standard brass repertoire and early music exploration. The Baroque-to-Romantic arc works especially well if programmed alongside a later Romantic brass duet or trio.

• Baroque-style articulation and ornamentation in trumpet writing
• Balanced ensemble playing in dialoguing equal parts
• Reading multiple keyboard score transpositions (D major and B-flat)
• Coordination with continuo instruments (organ and bass line)
• Phrasing and breathing in longer Baroque phrases without modern breath marks