Let the Bright Seraphim: 2 Trumpets & Keyboard Part(s)

Marlatt's arrangement preserves the architectural brilliance of Handel's original while creating a genuinely idiomatic piece for two trumpets. By splitting the soprano's flowing line between the players in the middle section, he sidesteps the awkwardness of pairing two equal soloists and instead writes something that feels composed for this instrumentation. The dual keyboard options (B-flat and D) solve a real practical problem without requiring transposition gymnastics.

Stately and jubilant, with the ceremonial radiance Handel brought to sacred music. The famous opening trumpet melody soars with confident nobility, while the middle section's interweaving trumpet lines suggest vocal interplay, creating moments of intimate intertwining before the music expands again into that characteristic Baroque brilliance.

Intermediate to advanced trumpet players (particularly soloists who have worked with microphone technique and projection in ensemble settings) and competent keyboard players. The piece suits wedding and church service programming, but also works as a contest or festival selection where period style and tasteful arranging impress adjudicators.

• Shape the famous opening solo with long-lined phrasing; this trumpet melody should sing as if it were a voice, not just display technical facility.
• Balance the accompanimental figures in the keyboard part so the trumpet lines emerge clearly without the pianist rushing to fill every moment.
• In the middle section where the soprano line is split, practice both trumpet parts together to ensure the distributed melody flows as one continuous phrase across both players.
• Choose your keyboard option (B-flat or D) based on your trumpet players' comfort; neither is easier in any absolute sense, so let individual strengths guide the decision.

This arrangement sits comfortably at a wedding prelude or recessional, especially if your ceremony incorporates classical or sacred music. It also serves as a standout opener for a brass or chamber recital, immediately establishing artistic credibility before moving into other repertoire.

• Baroque stylistic phrasing and ornamentation
• Balance and independence between two equal melodic lines
• Singing quality in rapid passage work
• Sustained legit tone production at various dynamic levels
• Collaborative listening in duo performance