The Trumpet Shall Sound (from <i>Messiah</i>) Cover Image

The Trumpet Shall Sound (from <i>Messiah</i>): 2 Trumpets & Keyboard Part(s)

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The Trumpet Shall Sound (from <i>Messiah</i>) Cover Image

The Trumpet Shall Sound (from Messiah): 2 Trumpets & Keyboard Part(s)

By George Frederic Handel / arr. David Marlatt

Item: 81-TE29189

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Description
George Frederic Handel wrote his most famous oratorio, Messiah, in a little over three weeks. There is little doubt that this work is one of the most famous and often performed choral pieces in history. This arrangement is a duet for two trumpets and keyboard (organ or piano).

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Additional Details
Series: Eighth Note Publications
Publisher: Eighth Note Publications
Page Count: 16
ISBN10: 1-55473-490-8
ISBN13: 978-1-55473-490-0
UPC: 685462014910
SKU: 81-TE29189
Instrumentation: 2 Trumpets & Keyboard

More about this title

About the Composer: George Frederic Handel

George Frideric Handel (1685-1759) was a German-born composer who spent most of his career in England, where he became a central figure in Baroque music. His output spanned opera, oratorio, instrumental works, and sacred music, and he was celebrated during his lifetime for his gift for memorable melody and dramatic expression. Messiah stands among his most significant achievements; the oratorio premiered in Dublin in 1742 and has never left the repertoire since.

Handel's trumpet writing was bold and virtuosic, reflecting the capabilities of the finest players of his day. In Messiah, the trumpet parts contribute powerfully to moments of proclamation and triumph, particularly in "The Trumpet Shall Sound," where the instrument's brilliant, clarion voice announces central themes of the text. His mastery of instrumental color and structural clarity made his works enduringly popular with both performers and audiences.

Why we love this

This duet captures one of the most recognizable moments in choral music while giving two trumpet players equal footing in a piece of genuine substance. The arrangement preserves Handel's architectural brilliance and the joy of the original while scaling it to a chamber setting that works beautifully in recital and festival contexts. Audiences know this music instantly, and performers get to inhabit writing that feels both historically grounded and immediately rewarding.

What to expect

Majestic and declarative, with the trumpet pair claiming space and speaking with confidence over a grounded harmonic foundation. The music radiates joy and affirmation, inviting a sense of ritual and grandeur that feels both ceremonial and intimate in a small ensemble setting.

Who it's for

This duet suits advanced high school players and adult amateurs seeking substantial literature with a familiar face. Trumpet players in university ensembles, church music programs, or recital series will find a piece that is both musically serious and accessible to audiences.

How to get the most out of it

  • Balance the two trumpet parts as equal conversationalists rather than treating one as accompaniment. Both lines carry thematic weight, and clarity of dialogue matters as much as blend.
  • Shape phrases with attention to the keyboard's harmonic movement. The organ or piano provides structural anchors that will help you navigate longer phrases without losing momentum.
  • Use the natural punctuation of Handel's phrase structure to breathe together. His periods are logical and generous; resist the urge to subdivide them unnecessarily.
  • Articulate with precision and consistency between the two parts. Baroque style benefits from clean tonguing and clear attack, which also helps the keyboard part come through cleanly.

How to use it

Program this as a centerpiece in a brass or chamber recital, or use it to open a concert of sacred music or Baroque works. Its familiarity makes it an excellent anchor piece for mixed repertoire programming, and its festival credentials make it a natural fit for competition or showcase events.

Skills your students will build

  • Baroque articulation and phrasing conventions
  • Ensemble listening and balance between two equal lines
  • Reading from keyboard reduction scores
  • Sustained playing with musical shape over longer phrases
  • Coordination with continuo-style harmonic accompaniment

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