Pamela

SKU: HL.35008933

UPC: 884088498207. 5x5 inches. Words and Music by Joseph M. Martin Narration by Pamela Martin Orchestration by Brant Adams.

From the creators of Song of the Shadows comes a work of great depth and power. Through music and symbols, worshippers are invited to a season of contemplation as the mystery and power of Christ's passion are presented. Using new music and beloved hymnody, Joseph Martin provides a work of greatly expressive beauty. Pamela Martin and Brant Adams reprise their respective roles as librettist and orchestrator in this creative and moving offering for Holy Week. Highly recommended!

Inclu des: Testament of Tears; Winds Through the Olive Trees; In Love Christ Came Amongst Us; and more.

SKU: HL.35008931

UPC: 884088421953. 5x5 inches. Words and Music by Joseph M. Martin Narration by Pamela Martin Orchestration by Brant Adams.

From the creators of Song of the Shadows comes a work of great depth and power. Through music and symbols, worshippers are invited to a season of contemplation as the mystery and power of Christ's passion are presented. Using new music and beloved hymnody, Joseph Martin provides a work of greatly expressive beauty. Pamela Martin and Brant Adams reprise their respective roles as librettist and orchestrator in this creative and moving offering for Holy Week. Highly recommended!

Inclu des: Testament of Tears; Winds Through the Olive Trees; In Love Christ Came Amongst Us; and more.

SKU: LO.9780787775803

ISBN 9780787775803.

The Lorenz Corporation is pleased to present this new book from arranger Pamela Robertson! Pamela's writing is characterized by unique piano textures as well as her unfailing ear for beautiful harmonies. Adjectives such as “elegant,” “refined,” and “imaginative” accurately describe each piece in this stunning collection. Featuring 12 artistic pairings of beloved hymns, pianists will find ample material in this volume for the entire year.

SKU: PR.11641373S

UPC: 680160680344.

The concerto has always seemed an especially attractive medium to me, not necessarily because of its expectations of virtuosity (although flaunting it when you've got it certainly has its place), and emphatically not because of the perception of a concerto as a contest, but because so much of what I write feels song-like; I'm very much at home with the age-old texture of melody and accompaniment. I hope, before I move on, to have the opportunity to write concertos for all the major instruments, and perhaps some of the rarer ones as well. The oboe is not only one of the major instruments, it is one of my favorite instruments. I've always loved its sound, but since moving to New York I have gotten to hear and, in some cases, know some extremely fine oboists who broadened my appreciation of the instrument's possibilities. I especially remember a concert, probably in the late 1960's, in which Humbert Lucarelli played a Handel concerto, filling out large melodic leaps with cascading scale passages in a way that raised the hair on the back of your neck, somewhat in the way that John Coltrane's sheets of sound did. The sweeping scales in the second movement of my concerto were definitely inspired by Bert Lucarelli's performance. The first, third and fifth movements of the Concerto for Oboe and Orchestra are song-like, whereas the second and fourth have strong scherzo and dance qualities, including a couple of sections that sound like out-and-out pirate dances to me. The hymn-like tune at the beginning of the middle movement was originally begun as a vocal piece to be sung by my wife, son and daughter at my brother's wedding, but I couldn't come up with good works for it, so it ended up as an instrumental chant. The opening and closing of the concerto make use of the oboe's uniquely soulful singing. I had not heard Pamela Woods Pecha's solo playing in person when she approached me about writing a concerto, but I had heard her fine recording of chamber music for oboe and strings by the three B's (English, that is: Bliss, Bax and Britten) with the Audubon Quartet. I actually already had some oboe concerto ideas in my sketchbooks; although I didn't end up using any of those earlier ideas, it's interesting that most of them tended to share the general feeling and tonality of the eventual opening of the concerto. The work was completed on October 13, 1994. I hate the compromises involved in making piano reductions -- perhaps I would feel differently if I were a more accomplished pianist -- so I often decide to make piano reductions for four hands rather than two. My good friend Jon Kimura Parker is a terrific sight-reader, and I roped him into coming over to my place on February 17, 1995, to help me accompany Pamela on the first read-through of the piece. The first performance of the work took place on July 21, 1995, at the American Music Festival in Duncan, Oklahoma, with Mark Parker conducting the Festival Orchestra.

SKU: HL.35026343

UPC: 747510185987. 6.75x10.5 inches.

For use during an Olympic year or anytime during the academic year when inspiration is needed, Mark Hayes' and Pamela Martin's fresh voicings of this bugler's theme known around the world is stunning. It has original lyrics set to an outstanding choral arrangement of the familiar tune and is available in a variety of voicings that are sure to accomodate your ensemble. A full orchestration and a StudioTrax CD are available for your library! Available separately: SATB, SSAB, 2-part (opt. SSA), StudioTrax CD, Orchestration.

SKU: GI.G-8463

UPC: 785147846307. English. Text by Pamela Jean Davis.

SKU: SU.YR6601

Traditional; arranged and adapted by Pamela GerkeSSAA a cappella Composed: 1993 Published by: Yelton Rhodes Music Minimum order quantity: 8 copies. To order quantities fewer than 8, please email customer service at sales@subitomusic.com.

SKU: HL.35010314

UPC: 884088530143. 6.75x10.5 inches. Pamela Martin/Patti Drennan.

SKU: HL.35026346

UPC: 747510036401. 8.5x11 inches.

For use during an Olympic year or anytime during the academic year when inspiration is needed, Mark Hayes' and Pamela Martin's fresh voicings of this bugler's theme known around the world is stunning. It has original lyrics set to an outstanding choral arrangement of the familiar tune and is available in a variety of voicings that are sure to accomodate your ensemble. A full orchestration and a StudioTrax CD are available for your library! Available separately: SATB, SSAB, 2-part (opt. SSA), StudioTrax CD, Orchestration.

SKU: HL.35023674

UPC: 884088421021. 5x5 inches. Words and Music by Joseph M. Martin Narration by Pamela Martin Orchestration by Brant Adams.

Particularly perfect for Easter, this cantata can be presented in any season. A Time for Alleluia celebrates the life and work of Christ; walking us through the seasons he lived among us. This materful work is highly recommended. Approximate time: 45 minutes.

Includes: Prepare Ye the Way; Come Follow Me; The King of Sorrows; Empty Now; and more.

SKU: HL.645235

ISBN 9790221115300. UPC: 008148040070. 8.5x11.0x0.006 inches.

11 fun designs to encourage students.

SKU: PR.11641373L

UPC: 680160680337.

The concerto has always seemed an especially attractive medium to me, not necessarily because of its expectations of virtuosity (although flaunting it when you've got it certainly has its place), and emphatically not because of the perception of a concerto as a contest, but because so much of what I write feels song-like; I'm very much at home with the age-old texture of melody and accompaniment. I hope, before I move on, to have the opportunity to write concertos for all the major instruments, and perhaps some of the rarer ones as well. The oboe is not only one of the major instruments, it is one of my favorite instruments. I've always loved its sound, but since moving to New York I have gotten to hear and, in some cases, know some extremely fine oboists who broadened my appreciation of the instrument's possibilities. I especially remember a concert, probably in the late 1960's, in which Humbert Lucarelli played a Handel concerto, filling out large melodic leaps with cascading scale passages in a way that raised the hair on the back of your neck, somewhat in the way that John Coltrane's sheets of sound did. The sweeping scales in the second movement of my concerto were definitely inspired by Bert Lucarelli's performance. The first, third and fifth movements of the Concerto for Oboe and Orchestra are song-like, whereas the second and fourth have strong scherzo and dance qualities, including a couple of sections that sound like out-and-out pirate dances to me. The hymn-like tune at the beginning of the middle movement was originally begun as a vocal piece to be sung by my wife, son and daughter at my brother's wedding, but I couldn't come up with good works for it, so it ended up as an instrumental chant. The opening and closing of the concerto make use of the oboe's uniquely soulful singing. I had not heard Pamela Woods Pecha's solo playing in person when she approached me about writing a concerto, but I had heard her fine recording of chamber music for oboe and strings by the three B's (English, that is: Bliss, Bax and Britten) with the Audubon Quartet. I actually already had some oboe concerto ideas in my sketchbooks; although I didn't end up using any of those earlier ideas, it's interesting that most of them tended to share the general feeling and tonality of the eventual opening of the concerto. The work was completed on October 13, 1994. I hate the compromises involved in making piano reductions -- perhaps I would feel differently if I were a more accomplished pianist -- so I often decide to make piano reductions for four hands rather than two. My good friend Jon Kimura Parker is a terrific sight-reader, and I roped him into coming over to my place on February 17, 1995, to help me accompany Pamela on the first read-through of the piece. The first performance of the work took place on July 21, 1995, at the American Music Festival in Duncan, Oklahoma, with Mark Parker conducting the Festival Orchestra.

SKU: LO.99-2332L

UPC: 000308117929.

†œCandles and Carols” is perfect for the small- or medium-sized choir for Advent and Christmas. The considerable talents of Pamela Martin and Mark Hayes have created an intimate, participatory experience for both choir and congregation, which celebrates the traditional Advent themes of hope, peace, joy, and love by observing the tradition of lighting the Advent candles. This work may be performed in individual movements throughout the weeks of Advent and Christmas, or in its entirety for any Advent Sunday, for Christmas Eve/Day, or for special seasonal celebrations. As each candle is lit and each narration spoken, beautiful settings of familiar carols—each having a newly written verse by Pamela Martin—may be sung by the choir, the congregation or any combination of the two. Choral part-writing is very accessible, and optional vocal solos are featured on some carols. The work may be performed with a full orchestra, a smaller ensemble, or a fully orchestrated Accompaniment CD.

SKU: HL.35014723

UPC: 747510052951. 6.75x10.5 inches. Pamela Martin/Joesph M. Martin.