Let Me Weep (from Rinaldo): Trombone & Keyboard Part(s)

David Marlatt's arrangement honors the vocal origins of this aria while giving trombone players genuine singing material that sits comfortably in the middle register. The moderate difficulty level makes it accessible for advancing students without sacrificing the Baroque elegance that makes Handel's melodies stick in listeners' ears. It's the kind of piece that works equally well in a concert hall or a ceremony, and it sounds far more sophisticated than its modest technical demands suggest.

Introspective and gently expressive, like watching light filter through stained glass. The melody unfolds with restraint and grace, inviting the listener to slow down and listen closely. There's sorrow here, but not despair; instead, a quiet acceptance that feels timeless.

Intermediate trombonists (typically high school level and above) looking for legitimate solo repertoire that demands musicality over technical fireworks. It also serves directors seeking a quiet, elegant piece suitable for weddings, memorial services, or any program that needs a thoughtful moment of rest.

• Shape the phrase in long arcs rather than measure-by-measure units. Handel wrote for the human voice, and the trombone's lyrical strength comes from breathing as a singer would, not a wind player.
• Keep vibrato subtle and consistent. The Baroque style calls for restrained ornamentation, and a small, steady vibrato supports the vocal quality without overwhelming the line.
• Balance tone clarity with warmth in the middle range. Avoid excessive brightness in the upper register; this piece asks for a singing, mellow sound that complements the keyboard accompaniment.
• Use the keyboard partner to establish tempo and harmonic grounding. The accompaniment provides structural support, so lock in with clear ensemble entrances and phrase endings.

Place this in the second half of a concert to create contrast with livelier material. It works beautifully as a bridge between a fast opening movement and an energetic finale, and its modest demands make it an ideal choice for a festival or competition slow movement category.

• Legato phrasing and breath control across longer melodic lines
• Vocal approach to tone production and vibrato on brass instrument
• Balance and blend with keyboard accompaniment
• Interpretation of Baroque style and ornamentation restraint
• Performance of slow-tempo material with musical conviction