Su le Sponde del Tebro: Brass Quintet Score & Parts

Bill Bjornes Jr.'s arrangement opens the Baroque trumpet duet tradition to standard brass quintet instrumentation without compromising the brilliance of Scarlatti's writing. The solo trumpet floats above organ-derived inner voices that now breathe with the warmth and blend of flugel horn and lower brass, creating an arrangement that sounds inevitable rather than adapted. This is genuine musical problem-solving that respects both the original and the new ensemble.

Elegant and ceremonial, with the brightness of a natural trumpet cutting through warm organ harmonies. The soprano and trumpet engage in courtly dialogue, trading phrases and joining in sustained lines, while the brass quartet creates a nimble, transparent foundation that never overshadows the soloists.

Brass quintets with an accomplished first trumpet player and access to a skilled soprano soloist. The difficulty level and instrumentation demand secure ensemble awareness and careful balance, making this suitable for experienced groups seeking to program meaningful Baroque chamber music.

• Balance the soprano voice and solo trumpet as equal conversationalists. The duet relationship defines the piece; the quintet provides harmonic and textural support rather than competition.
• Shape the flugel horn part with sensitivity to the first trumpet's phrasing. The second trumpet on flugel must listen actively and support the soprano's breath points without doubling every articulation.
• Treat the lower brass voices (horn, trombone, tuba) as a continuo foundation. Clarity and steady harmonic support matter more than prominence; let the texture remain transparent.
• Consider the natural trumpet option for performances exploring period practice. Even on modern valved trumpet, accessing the brighter, more focussed tone quality of the upper register will illuminate the duet texture.

Pair this with other Baroque chamber works to create a concert devoted to the trumpet's role in the period. The soprano-trumpet duet framework also makes it ideal for collaborations with vocal faculty or visiting soprano soloists at chamber music festivals.

• Playing as a continuo ensemble with transparency and harmonic awareness
• Balancing and supporting soloists while maintaining independent voice integrity
• Navigating Baroque articulation and phrasing conventions
• Adapting to the natural trumpet aesthetic and tone production on valved instruments
• Ensemble communication and listening across different instrument families