Laudamus Te (from Gloria): Brass Quintet Score & Parts

Marlatt's arrangement brings Vivaldi's signature melodic brilliance and contrapuntal wit directly into the brass quintet medium without losing the brilliance of the original vocal writing. The imitative scale passages and intertwining lines demand musical maturity from your players while remaining genuinely enjoyable to perform; this is repertoire that teaches musicianship through engagement, not through drudgery. For festivals and contests, it offers immediate recognition value paired with the satisfaction of executing genuinely sophisticated musical writing.

Bright, elegant, and conversational. The two trumpets trade phrases with baroque charm while the lower voices establish a confident harmonic foundation. There's buoyancy throughout, even in moments of imitative complexity, and a sense of refined virtuosity that feels achievable rather than forbidding.

Brass quintets at the high school and early college level looking to expand into Baroque repertoire with immediate musical rewards. Directors seeking a shorter, focused work suitable for festivals, competitions, and mixed concert programs without staging demands.

• Emphasize the independence of the two trumpet voices in the opening. They should sound like two singers sharing a conversation, not a unison statement with slight variations. Each line has its own character and phrasing arc.
• Shape the imitative passages as though they're sung. Let the scale runs breathe; they shouldn't feel rushed even when they move quickly. Continuity of line matters more than technical precision alone.
• Balance the accompaniment (horn, trombone, tuba) so it supports rather than overwhelms the trumpet duet. These voices provide harmonic foundation and rhythmic propulsion, not additional melodic weight.
• Take care with articulation consistency between the trumpet lines during unison moments or very close intervals. Even tiny differences in articulation approach will betray the ensemble's unity.

Program this after a heavier Romantic or Contemporary work to reset the ear and energy in your concert. It's also an excellent choice for chamber music competitions or festival showcases where Baroque representation strengthens a program, and its moderate length makes it a natural pairing with other chamber works.

• Baroque articulation and phrasing conventions
• Contrapuntal listening and independent line execution in ensemble
• Stylistic balance between soloistic and accompanying roles
• Imitative writing and thematic development across multiple voices
• Maintaining clarity and character in fast scalar passages