No Greater Power

SKU: HL.466847

UPC: 196288070757. 6.75x10.5x0.01 inches.

There is no greater power than love, is the message in this song. With a cascade of beautiful suspensions, we are reminded how meaningful it is to love one another and help each other. The combined music and words carry a message of truth that is meaningful and profound. For high school, college, and community choirs.

SKU: CF.CM9563

ISBN 9781491153635. UPC: 680160911134. 6.75 x 10.5 inches. Key: G minor. Latin, English. Hidegard Von Bingen transcribed by Michael John Trotta.

Trotta's composition is an energetic reimagining of timeless text and tune from the 12th century poet, composer, and philosopher Hildegard of Bingen. The marriage of the chant Caritas Abundat with a text taken from Liber Divinorum Operum (The Book of Divine Works) creates an entirely new work that expresses themes of empowerment. There is a reflective sense of the empowerment that comes from singing in a choir, especially the power of belonging to a group united for a purpose greater than oneself.
This commissioned work for womens choir is an energetic reimagining of a timeless text and tune from the twelfth-century poet, composer and philosopher Hildegard of Bingen. The text was selected as a reflection of the students' desire to express the empowerment that comes from singing in a choir, especially the power of belonging to a group united for a purpose greater than oneself. This piece marries the chant Caritas Abundat with a text taken from Liber Divinorum Operum (The Book of Divine Works), creating an entirely new work that expresses themes of empowerment. An adapted quotation of the tune is introduced in the violin, then taken up by the choir, treated to a five-part canon in the more reflective middle section, and finally changes meter for an energetic finish. I am the great and fiery force, That breathes life into all things: I am what awakens and supports life And enkindles all living things I am the great and fiery force, That breathes life into all things: Everything in the cosmos Is encircled with my wisdom. I am the beauty in the fields, The force, that moves like a graceful wind I shine in the waters, and burn in the sun, Glimmering in the stars. Caritas abundat in omnia (Grace abounds for everyone) [Liber Divinorum Operum (The Book of Divine Works), I.I.2].
This commissioned work for womenas choir is an energetic reimagining of a timeless text and tune from the twelfth-century poet, composer and philosopher Hildegard of Bingen. The text was selected as a reflection of the students' desire to express the empowerment that comes from singing in a choir, especially the power of belonging to a group united for a purpose greater than oneself. This piece marries the chant Caritas Abundat with a text taken from Liber Divinorum Operum (The Book of Divine Works), creating an entirely new work that expresses themes of empowerment. An adapted quotation of the tune is introduced in the violin, then taken up by the choir, treated to a five-part canon in the more reflective middle section, and finally changes meter for an energetic finish. I am the great and fiery force, That breathes life into all things: I am what awakens and supports life And enkindles all living things I am the great and fiery force, That breathes life into all things: Everything in the cosmos Is encircled with my wisdom. I am the beauty in the fields, The force, that moves like a graceful wind I shine in the waters, and burn in the sun, Glimmering in the stars. Caritas abundat in omnia (Grace abounds for everyone) [Liber Divinorum Operum (The Book of Divine Works), I.I.2].
This commissioned work for womenas choir is an energetic reimagining of a timeless text and tune from the twelfth-century poet, composer and philosopher Hildegard of Bingen. The text was selected as a reflection of the students' desire to express the empowerment that comes from singing in a choir, especially the power of belonging to a group united for a purpose greater than oneself. This piece marries the chant Caritas Abundat with a text taken from Liber Divinorum Operum (The Book of Divine Works), creating an entirely new work that expresses themes of empowerment. An adapted quotation of the tune is introduced in the violin, then taken up by the choir, treated to a five-part canon in the more reflective middle section, and finally changes meter for an energetic finish. I am the great and fiery force, That breathes life into all things: I am what awakens and supports life And enkindles all living things I am the great and fiery force, That breathes life into all things: Everything in the cosmos Is encircled with my wisdom. I am the beauty in the fields, The force, that moves like a graceful wind I shine in the waters, and burn in the sun, Glimmering in the stars. Caritas abundat in omnia (Grace abounds for everyone) [Liber Divinorum Operum (The Book of Divine Works), I.I.2].
This commissioned work for women's choir is an energetic reimagining of a timeless text and tune from the twelfth-century poet, composer and philosopher Hildegard of Bingen. The text was selected as a reflection of the students' desire to express the empowerment that comes from singing in a choir, especially the power of belonging to a group united for a purpose greater than oneself. This piece marries the chant Caritas Abundat with a text taken from Liber Divinorum Operum (The Book of Divine Works), creating an entirely new work that expresses themes of empowerment. An adapted quotation of the tune is introduced in the violin, then taken up by the choir, treated to a five-part canon in the more reflective middle section, and finally changes meter for an energetic finish. I am the great and fiery force, That breathes life into all things: I am what awakens and supports life And enkindles all living things I am the great and fiery force, That breathes life into all things: Everything in the cosmos Is encircled with my wisdom. I am the beauty in the fields, The force, that moves like a graceful wind I shine in the waters, and burn in the sun, Glimmering in the stars. Caritas abundat in omnia (Grace abounds for everyone) [Liber Divinorum Operum (The Book of Divine Works), I.I.2].
This commissioned work for women's choir is an energetic reimagining of a timeless text and tune from the twelfth-century poet, composer and philosopher Hildegard of Bingen. The text was selected as a reflection of the students' desire to express the empowerment that comes from singing in a choir, especially the power of belonging to a group united for a purpose greater than oneself. This piece marries the chant Caritas Abundat with a text taken from Liber Divinorum Operum (The Book of Divine Works), creating an entirely new work that expresses themes of empowerment. An adapted quotation of the tune is introduced in the violin, then taken up by the choir, treated to a five-part canon in the more reflective middle section, and finally changes meter for an energetic finish. I am the great and fiery force, That breathes life into all things: I am what awakens and supports life And enkindles all living things I am the great and fiery force, That breathes life into all things: Everything in the cosmos Is encircled with my wisdom. I am the beauty in the fields, The force, that moves like a graceful wind I shine in the waters, and burn in the sun, Glimmering in the stars. Caritas abundat in omnia (Grace abounds for everyone) [Liber Divinorum Operum (The Book of Divine Works), I.I.2].
This commissioned work for women’s choir is an energetic reimagining of a timeless text and tune from the twelfth-century poet, composer and philosopher Hildegard of Bingen. The text was selected as a reflection of the students' desire to express the empowerment that comes from singing in a choir, especially the power of belonging to a group united for a purpose greater than oneself.This piece marries the chant Caritas Abundat with a text taken from Liber Divinorum Operum (The Book of Divine Works), creating an entirely new work that expresses themes of empowerment.An adapted quotation of the tune is introduced in the violin, then taken up by the choir, treated to a five-part canon in the more reflective middle section, and finally changes meter for an energetic finish.I am the great and fiery force,That breathes life into all things:I am what awakens and supports lifeAnd enkindles all living thingsI am the great and fiery force,That breathes life into all things:Everything in the cosmosIs encircled with my wisdom.I am the beauty in the fields,The force, that moves like a graceful windI shine in the waters, and burn in the sun,Glimmering in the stars.Caritas abundat in omnia (Grace abounds for everyone)[Liber Divinorum Operum (The Book of Divine Works), I.I.2].

SKU: PR.41641366L

UPC: 680160585755.

From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notion of writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures. The notes of the violins open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes: 1 st movement: A-D-A 2nd movement: D-G-D 3rd movement: E-A-E The overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movements primary theme. While the movements share similar musical materials, each one is defined by distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgiving ferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes from the previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell.
From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notion of writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures. The notes of the violinas open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes: 1 st movement: A-D-A 2nd movement: D-G-D 3rd movement: E-A-E The overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movementas primary theme. While the movements share similar musical materials, each one is defined by distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgiving ferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes from the previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell.
From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notion of writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures. The notes of the violin's open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes: 1 st movement: A-D-A 2nd movement: D-G-D 3rd movement: E-A-E The overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movement's primary theme. While the movements share similar musical materials, each one is defined by distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgiving ferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes from the previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell.
From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notionof writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures.The notes of the violin’s open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes:1 st movement: A-D-A2nd movement: D-G-D3rd movement: E-A-EThe overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movement’s primary theme. While the movements share similar musical materials, each one is definedby distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgivingferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes fromthe previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell.

SKU: WD.080689484230

UPC: 080689484230.

Hi s Name is Healer, Father, Mercy, Power, Freedom… His Name is JESUS. Arranged and orchestrated by the incomparable Cliff Duren, this powerful anthem from California revival band Urban Rescue will humble your church before the power of the Name of Jesus. Rejoice, for nothing is greater than His Name…the holy Name of Jesus!

SKU: HP.C5403R

UPC: 763628254032. Tom S. Long.

Original anthem
This moving anthem was written for the people of Pensacola, Florida after being devastated by Hurricane Ivan in September of 2004. Choirs in churches, schools and communities will want to sing this uplifting song as they offer their prayers and support on behalf of disaster victims everywhere. The power of love is greater than the power of a hurricane, or any other force of nature, because it inspires people to work and sacrifice together for their mutual survival and recovery.