Largo from Xerxes Cover Image

Largo from Xerxes: Brass Quintet, Conductor Score & Parts

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Largo from Xerxes Cover Image

Largo from Xerxes: Brass Quintet, Conductor Score & Parts

By George Frederic Handel / arr. David Marlatt

Item: 81-BQ224577

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Description
Handel's Largo from Xerxes, also known as "Ombra mai fu", is the opening aria from the 1738 opera. The opera was a failure and closed after only five performances but, over 100 years later, the aria was resurrected and became a big hit. It continues to be played at various solemn occasions such as processions, funerals and weddings. (2:40)

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Additional Details
Series: Eighth Note Publications
Publisher: Eighth Note Publications
ISBN10: 1-77893-059-X
ISBN13: 978-1-77893-059-1
SKU: 81-BQ224577

More about this title

About the Composer: George Frederic Handel

George Frideric Handel (1685-1759) was a German-born composer who spent most of his career in London, where he became the dominant figure in English musical life during the 18th century. His prolific output spans operas, oratorios, concerti grossi, and instrumental works that defined the Baroque style and remain central to the repertoire today.

Handel's gift for melody was unmatched; his arias became standards performed across centuries and genres. The "Largo" from Xerxes exemplifies his mastery of sustained lyricism and emotional depth, transforming what was initially a minor opera into a timeless piece of music education value through arrangements like this brass quintet version.

Why we love this

This arrangement captures the serene grandeur of one of music's most recognizable melodies in a setting that demands controlled phrasing and ensemble balance from brass players. The piece has natural programming currency: it works equally well as a concert opener, a memorial or ceremonial piece, or a sophisticated intermission moment that audiences genuinely connect with. Marlatt's scoring respects Handel's vocal line while giving the brass texture and warmth that feels both authentic and contemporary.

What to expect

The piece unfolds with the unhurried elegance of a stately procession. There is contemplative warmth in the harmonies; even amid the brass sonority, the music feels intimate and reflective rather than bombastic. The melody hovers over the accompaniment like a voice in prayer, inviting listeners into a moment of collective calm.

Who it's for

Brass quintet ensembles seeking repertoire that demonstrates lyrical maturity and appeals to diverse audiences. This arrangement suits both advanced high school groups and college or professional quintets looking to add a piece with genuine ceremonial weight and cultural recognition to their programs.

How to get the most out of it

  • Treat the primary melody as if it were a singer delivering text; shape each phrase with clear architecture rather than mechanical evenness, allowing the line to breathe at phrase endings
  • Balance the harmonic support voices so they anchor the melody without overwhelming it; the accompanying brass should sit noticeably behind the lead voice in dynamic weight
  • Sustain a consistent, unhurried tempo throughout; this music depends on the listener's sense of repose, which disappears if the pulse wavers or rushes
  • Shape dynamics across the full arc of the piece rather than within individual phrases; let the overall emotional trajectory build gradually toward a gentle peak before settling

How to use it

Program this as an opening statement to set a reverent or reflective tone for a concert, or as a bridge between more energetic works. Its ceremonial character makes it natural for memorial services, academic processionals, or outdoor events where a moment of dignified beauty serves the occasion. It also works effectively as the final selection before intermission, leaving the audience in a thoughtful frame of mind.

Skills your students will build

  • Sustaining long phrases with consistent tone and breath control
  • Balancing solo and accompaniment voices within an ensemble
  • Shaping musical lines with architectural intent across multiple measures
  • Performing with restraint and control in lyrical contexts
  • Responding to a conductor's guidance on tempo and dynamics in reflective music

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