Festival of Palms (Full Orchestra): Choral Instrumental Pak
By Joseph M. Martin
Item: 35-PK00502104
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About the Composer: Joseph M. Martin

Joseph M. Martin studied piano performance at Furman University and earned his master's degree from the University of Texas at Austin, where he also taught in the Piano Pedagogy Department for five years. A performing artist who has appeared as a soloist with orchestras across the United States and Mexico and won the Nina Plant Wideman Competition, Martin transitioned from the concert stage to focus his considerable gifts on church music and worship settings.
His catalog spans sacred and secular works that have resonated in spaces ranging from Carnegie Hall to intimate worship services across North America. Based in Austin, Texas, Martin continues to compose and arrange with a distinctive ability to balance accessibility with musical substance, making his work equally at home in concert halls and Sunday sanctuaries.
Why we love this
Martin's orchestration brings genuine theatrical weight to this well-loved hymn tune without sacrificing its spiritual core. The inclusion of both full orchestra and consort options means you can program this with the resources you have on hand, whether that's a robust pit or a lean instrumentation. Few arrangements of LASST UNS ERFREUEN balance textural drama with the kind of directness that moves congregations and choirs alike.
What to expect
Majestic and purposeful. The piece unfolds with the confidence of a processional, building in harmonic density and orchestral color as it progresses. There's genuine joy in the musical fabric, reinforced by the familiar hymn tune, yet the orchestration elevates it beyond sentiment into genuine declaration.
Who it's for
Choirs and worship programs seeking a Palm Sunday or Easter anchor with real stature and flexible instrumentation options. Directors working with developing orchestras will appreciate how the consort setting allows meaningful participation without overwhelming the choir.
How to get the most out of it
- The crescendo that builds through the final section depends on disciplined ensemble release. Rehearse the cut-offs independently from the overall swell so singers and players arrive at silence together.
- Balance the hymn tune's melody across your voicing. Even with full orchestration, the tune should remain the anchor; the orchestral colors frame rather than obscure it.
- Approach the piano accompaniment option not as a compromise but as a distinct sonic choice. Its clarity can actually heighten the anthem's accessibility in typical worship contexts where space and acoustics differ dramatically from concert halls.
How to use it
Position this as your centerpiece for a liturgical season that calls for triumph and praise. The dual instrumentation options make it work whether you're mounting a full orchestral Good Friday service or need a strong closing number for a midweek Lenten program using piano support.
Skills your students will build
- Balancing melody with accompaniment in multi-instrumental textures
- Following orchestral cues and adjusting dynamic shapes across ensemble sections
- Sustaining legit vocal technique through extended phrases in higher tessitura
- Identifying and maintaining hymn tune integrity within complex harmonic settings
- Responding to the demands of both consort and full orchestra arrangements of the same score