Laudamus Te (from Gloria): 2 Flutes & Keyboard Part(s)

David Marlatt's arrangement captures what makes the Laudamus Te so rewarding to perform: two independent melodic lines that dance around each other with Baroque elegance, now accessible to flute players at the easy-medium level. The keyboard part provides harmonic foundation without overwhelming the flutes, allowing the duet to shine while giving students a genuine masterwork to add to their repertoire.

Graceful and conversational, like two voices in animated dialogue. The interweaving melodic lines create a sense of gentle urgency typical of Baroque sacred music, with moments of lyrical warmth where the flutes move in parallel motion before spinning apart again into independent counterpoint.

Flute duos working at the easy-medium level who want to explore Baroque repertoire beyond standard method materials. This arrangement suits intermediate students ready to tackle imitative writing and perform a recognized masterwork in a chamber setting.

• Shape the imitative passages with clarity and independence; each flute must sing its own line while remaining aware of how the melodies intertwine. Resist the urge to blend into unison.
• Work with your keyboard player to establish a steady harmonic foundation that supports rather than leads. The organ or piano should sit underneath the flute dialogue.
• Articulation choices matter. Test whether crisp tonguing or longer legato phrases best serve the expressive flow of each section, and commit to consistency within the repeated material.
• Balance the phrase climaxes by listening across both flute parts. One flute may carry the primary melodic gesture while the other provides counterpoint; identify these moments and shape accordingly.

Program this in a chamber concert setting alongside other Baroque arrangements or as part of a sacred music recital. Its moderate difficulty and familiar cultural status make it an excellent choice for repertoire readings, student recitals, or concerts showcasing masterwork arrangements that introduce young musicians to significant musical literature.

• Baroque imitative counterpoint and independent voice leading
• Balancing two melodic lines of equal importance
• Ensemble listening and rhythmic coordination in duet texture
• Baroque articulation and phrase shaping conventions
• Collaboration with keyboard accompaniment