Concerto, Opus 7, No. 6 (Movement I): Brass Quintet Score & Parts

David Marlatt's arrangement transforms Albinoni's elegant oboe writing into a showcase for trumpet while distributing Baroque texture across the full quintet. The result is a contest-worthy piece that sits at the intersection of accessibility and genuine musical substance. Brass players encounter authentic period writing without the technical extremes that often accompany later brass literature.

Courtly and song-like, with the trumpet carrying a soaring, almost vocal melody while the other voices weave a gentle harmonic web beneath. The Baroque grace unfolds without heaviness, inviting listeners into a chamber music conversation rather than a display of virtuosity.

Medium-difficult brass quintets preparing for regional festivals or seeking substantial Baroque repertoire. The arrangement suits ensembles with a capable principal trumpet and section members comfortable reading Baroque textures and subsidiary lines.

• Balance the first trumpet's singing line with the secondary harmonic voices; the accompaniment should support without overwhelming the melody.
• Shape the Baroque phrasing in four-bar units, letting the harmonic rhythm guide your breath placement across the ensemble.
• Lock the rhythmic precision between French horn and trombone in the accompaniment figures; this clarity frames the trumpet solo.

Program this as a contrasting centerpiece alongside modern brass repertoire, or pair it with another Baroque arrangement to highlight your ensemble's stylistic range at a concert or festival. Its single-movement design also works well in shorter recital contexts where you want to feature your principal trumpet within a classic work.

• Reading and executing Baroque articulation and phrasing conventions
• Balancing melodic and accompanimental roles within a chamber ensemble
• Sustaining lyrical singing across sustained harmonic backgrounds
• Maintaining rhythmic precision in intricate secondary counterlines