Sonata #1: Brass Quintet Score & Parts

David Marlatt's arrangement opens up an important Baroque cornetto sonata to brass quintet ensembles without requiring specialized period instruments. The transposition to E-flat and the choice to voice the second trumpet on flugel horn create a warm, blended texture that honors the original's character while giving modern brass players genuine chamber music from the canon.

The sonata unfolds with the refined counterpoint and melodic grace of the Italian Baroque, moving from an intricate, colorful opening through a section of almost operatic intimacy before concluding with dance-like rhythmic energy. The blended brass sonority creates warmth and depth while maintaining the clarity of individual lines that Baldassare's original writing demands.

This arrangement suits brass quintets working at the high school or college level and capable of managing medium-difficult technical demands and ensemble independence. It's ideal for groups seeking substantive Baroque repertoire that connects to historical contexts while remaining accessible without period instrument expertise.

• Balance the flugel horn player's part carefully in the texture; this instrument should blend as an inner voice rather than compete for prominence with the solo trumpet.
• Approach the slow movement with the same singing quality you would bring to vocal music, allowing phrases to breathe and sustain tones to ring without vibrato heaviness.
• The contrapuntal first movement rewards attention to independent voice leading; ensure each line remains clear and connected rather than blending into a homogeneous sound.
• Coordinate with the rhythm section (horn and tuba) to establish a steady harmonic foundation that allows the upper voices freedom within the pulse.

Program this alongside other Baroque arrangements to anchor a concert around the era, or pair it with later Romantic brass works to demonstrate stylistic evolution. Its medium-difficult demands and festival-appropriate stature make it an excellent choice for contest programs or spring chamber concerts.

• Baroque counterpoint and voice independence in an ensemble setting
• Balancing soloistic material with ensemble texture
• Sustaining singing phrase lines at a slow tempo without excessive vibrato
• Collaborating with doubling instrumentation (flugel horn) to create specific timbral blends
• Interpreting stylistically appropriate articulation and ornamentation in Baroque music