“The New Music Circle should be proud of Donald Erb’s Fanfare and Marvin Lamb’s The Stomp Revisited, works that had their first performance on this concert; the latter (is) a witty, flashy and sonically very colorful set of variations on a medieval estampie.”
James Wierzbicki
St. Louis (Missouri) Post-Dispatch

“Composer Marvin Lamb and librettist David Cassel have created Sitio. a work of intense emotional impact and fascinating structural design . . . The frequent use of a declamatory style and rather austere musical texture . . . seemed just right. . . demonstrating a superb musical integrity.”
Henry Arnold
Nashville (Tennessee) Banner

Heavy Metal utilized such techniques as muting, foot and chest pounding, mouthpiece slapping, leg slapping, spoken words and animal noises. Pure excitement and intensity surrounded the audience from ihe beginning of the work to the end.”
Roger Behrend, U.S. Navy
TUBA Journal

The Annunciation met a hearty response. Like the Rilke poem, it sings . . . and had a holiness that was truly moving. Harmonies were stark, sometimes dissonant, always producing blocks of sound in a resplendent texture.”
Mary Marinae
Meadville (Pennsylvania) Tribune

“The composer’s note was refreshingly succinct: Solowalk is just a piece — enioy it. He’s right, and I did.”
John Ardoin
Dallas (Texas) Morning News

“Marvin Lamb’s LAMENTATIONS, … morphs into something quite emotional without relying on pathos or bathos… (He) exploits the high end of violin ranges, but fuses lyricism with an intense feeling of loss & suffering…”
Lynn René Bayley

The Stomp: Revisited is Lamb’s rowdy, foot-stomping, infectious celebration of rhythm. Its references to a joyous medieval dance . . . establish a link with the distant past. Incidentally, for the sake of my fellow critics that love to ‘hate’ the music of ‘academics’: Marvin Lamb (teaches) at Baylor . . .”
American Record Guide (Mar/Apr 9)