A Parable of Choices Julian David Bryson Text from Wilfred Owen and Genesis 22
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Text and Translation The Parable of the Old Man and the Young by Wilfred Owen (1893 – 1918) Genesis 22:8, 13 So Abram rose, and clave the wood, and went, And took the fire with him, and a knife. And as they sojourned both of them together, Isaac the first-born spake and said, My Father, Behold the preparations, fire and iron, But where the lamb for this burnt-offering? Deus providebit sibi “God will provide Himself the lamb victimam holocausti fili mi for the burnt offering, my son.” pergebant ergo pariter And the two of them went on together. Then Abram bound the youth with belts and straps, and builded parapets and trenches there, And stretchèd forth the knife to slay his son. When lo! an angel called him out of heaven, Saying, Lay not thy hand upon the lad, Neither do anything to him. Behold, A ram, caught in a thicket by its horns; Levavit Abraham oculos viditque post Abraham looked up and there tergum arietem inter vepres herentem in a thicket he saw a ram caught by its horns. Offer the Ram of Pride instead of him. Quem adsumens obtulit He went over, took the ram, holocausti and sacrificed it as a burnt offering pro filio instead of his son. But the old man would not so, but slew his son, And half the seed of Europe, one by one. And Abraham said, “My son, God will provide Himself a lamb for a burnt offering.”
Winner of the 2017 Yale Glee Club Emerging Composers Competition, under the direction of Dr. Jeffrey Douma. Premiered by the Yale Glee Club, conducted by David McNeil, November 17, 2017.
Cover Photo: enGRAVEd II (Giving) taken by the composer at the Vietnam War Memorial, Washington, DC, March 16, 2009.
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A Parable of Choices Text by Wilfred Owen (1893 - 1918) and Genesis 22 (Latin Vulgate) (Public Domain)
Julian David Bryson
sfp SOPRANO
q = 100 Close quickly to consonants in parentheses. mp sfp
So...
ALTO
TENOR
BASS
sfp
mp
So...
A- bram rose,
So...
So...
a(n)
so - journ(n)
A.
mp
so - journ(n)
B.
to - geth - er, I - saac,
sfp so - journed both of them to_(n)
T.
so - journed
both of them
sfp
a(n)
sfp
to_(n)
the first - born spake
sfp
a(n)
mf
And as they
and took the fire with him,
and clave the wood, and went,
to - geth - er, I - saac,
and took the fire with him,
and clave the wood, and went,
sfp
6
S.
sfp
a(n)
a(n)
sfp
mp
sfp
a(n)
sfp
A- bram rose,
mf
the first - born spake
And as they
and a knife. And as they
and a knife. And as they
mp
sfp
and said,
My Fa - ther,
mp
and said,
My Fa - ther,
Be - hold
Be
mf
mf
the first - born spake
the first - born spake
mp
and said,
mp
and said,
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2
S.
11
sfp
A.
hold
Be - hold
sfp
T.
B. 15
S.
A.
B.
A.
Be
the mf
pre - pa - ra - tions, fire
the mf
pre - pa - ra - tions, fire
the mf
pre - pa - ra - tions, fire
the
But where the lamb sfp
for
this
for
sfp
f(n)
(“God himself will provide the lamb for the burnt offering, my son.” And the two of them went on together.) q = 80 p
De - us
pro - vi - de - bit
p
De - us
ing? De - us
si - bi
vic - ti - mam
iron,
i(ng)?
-
caus - ti
ho - lo - caus
vic - ti - mam
ho - lo
-
-
i(ng)?
si - bi
off - er -
pro - vi - de - bit
ing?
burnt
ho - lo
where
vic - ti - mam
si - bi
where sfp
But
- bit
vic - ti - mam
where sfp
off - er -
ho - lo
iron, But
si - bi
pro - vi - de - bit
p De - us pro - vi - de p B. T.
where sfp
iron, But
burnt
for this
But
off - er -
and
er -
-
burnt
for this
sfp
th(n)
this
iron,
and
off
and
burnt
and
pre - pa - ra - tions, fire
rit.
sfp
hold
18
S.
sfp
mf
b(n)
T.
-
fi - li
ti
mi
fi - li
mi
fi - li
mi
fi - li
mi
caus - ti
caus - ti
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3
S.
26
T.
per - ge - bant
er - go
per - ge - bant
T.
-
go
par
-
go
er
-
go
par
i
-
-
i
-
mf
f
forth the knife to slay his son. f
B.
sfp
par - a - pets
forth the knife to slay his son.
and trench - es there And stretch - ed
f
and trench - es there And stretch - ed
sfp
called
called him out of
(n)
there And stretch - ed
f
par - a - pets
sfp
there And stretch - ed
Say
When lo!
the
When lo! an an - gel
mf
f
and trench - es
forth the knife to slay his son.
f
f
Then A - bram bound the youth
and trench - es
the
Then A - bram bound the youth
and build - ed
f
ter
mf
i - ter
-
mf
q = 100
(n)
ter
-
ter
with belts and straps,
forth the knife to slay his son.
T.
-
34
A.
and build - ed
with belts
S.
i
with belts and straps,
-
par
with belts
youth
B.
er
per - ge - bant
par
youth
A.
er
per - ge - bant
31
S.
A.
B.
rit.
sfp hea - ven,
Say
Say
Say
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ing,
ing,
Lay not thy
Lay not thy
ing,
Lay
sfp
ing,
sfp
Lay
4 f 40
S.
hand up - on the lad,
A.
hand up - on the lad,
T.
S.
T.
B.
S.
A.
do sfp
up - on the lad,
do
him. Be hold, A
to
A
a - ny - thing
a - ny - thing
le - va - vit p
A
-
bra - ham o - cu - los
bra - ham o - cu - los
ram, caught in the thick - et by its horns;
Be hold, A
ram, caught in the thick - et by its horns;
le - va - vit A p
-
le - va - vit A
-
her
B.
post
post
-
-
en
tem
en - tem
- pres her
ve - pres her
-
en - tem
ter - gum
a - ri - e - tem
ter - gum
bra - ham o - cu - los vi - dit - que
cor - ni - bus
en - tem
a
subito q = 100 p
bra - ham o - cu - los vi - dit - que post ter - gum
vi - dit - que
ve
Be hold, A
vi - dit - que
rit.
pres
ram, caught in the thick - et by its horns;
-
ram, caught in the thick - et by its horns;
him. Be hold, A
(Abraham looked up and there in a thicket he saw a ram caught by its horns.)
ve - pres her
T.
to
Nei - ther do a - ny - thing sfp
p
p
54
le - va - vit
A.
up - on the lad,
B. 46
Nei - ther do a - ny - thing
f
q = 80
rit.
cor - ni - bus
Off- er the Ram p
s(n)
a
-
a
-
of Pride
Off- er the Ram p
Off- er the Ram
p Off- er the Ram
ri - e - tem in - ter
ri - e - tem in - ter
of Pride
of
of Pride
in - stead of him.
s(n)
ri - e - tem in - ter
post ter - gum
-
in - ter ve -
in - stead of
Pride
in - stead of
in - stead of him.
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mp 60
S.
5
(He went over and took the ram and sacrificed it as a burnt offering instead of his son.)
quem
A.
him.
ad - su - mens, ad - su mens ob - tu -
lit,
Off er the Ram
him.Of him. fer the Ram
T.
mp
B.
quem
mens, ad - su - mens
B.
S.
Pride
in -stead of him.
T.
B.
fi
-
li
-
mens, ad
- su - mens ob - tu -
mens, ad - su - mens ob - tu -
ob - tu
-
-
Off - er the Ram ff
quem
in - stead of him.
o,
pro
fi
-
in --stead of him.
lit,
lit, Quem
li
-
ad - su - mens
ad - su -
Quem ad - su -
pro
of pride
of Pride
ob - du - lit
f
Off-er thelamb
of Pride
o,
in --stead of him.
Off-er the Ram
caus - ti
in --stead of him.
of Pride
of
Off - er the Ram
lo
in --stead of him.
Off- er the Ram
lit
of Pride
-
of Pride
ho
Off - er the Ram
ad - su -
Off-er the Ram
lit,
of Pride
f in -stead of him.
in stead of him.
quem
Off - er the Ram
ob - tu - lit
lit
Off - er the Ram
in stead of him.
lit,
Pride
70 ff
tu -
Off - er the Ram
of
-
-
in stead of him.
in - stead of him.
pro
A.
ob
T.
ob - tu
in stead of him.
ad - su - mens, ad - su mens ob - tu -
A.
65
S.
of Pride
of Pride
in -stead of him. Off
ho - lo - caus-ti
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6
75
S.
A.
T.
B.
fi
A.
li
pro
fi
in - stead of him.
-
Ram!
li
-
of
Pride.
o,
Ra(m)
fi
-
his
but slew
but slew sfp
his
son,
son,
his
son,
sfp
slew
his
son,
B.
li
But...
sfp
Ra(m)
But...
li
-
Off - er the Ram!
the old man sub. pp
the old man
f
and half the seed of Eu - rope,
f
-
sfp
but slew
sub. pp
would not so, sub. pp
would not so,
and half the seed of Eu - rope,
but
rit.
one
and half the seed of Eu - rope,
Off - er the
f
and half the seed of Eu - rope,
Off-
fi
But...
f
pro
o.
Off - er the Ram!
o,
-
-
q = 100 sub. pp
of Pride.
of Pride.
-
fi
But...
Ra(m)
o.
Off- er the Ra(m)!
accel.
84
T.
Pride,
Off - er the Ram
sfp
Off- er the sfp
of
pro
Off - er the Ram
sfp
li
A.
o.
er the Ram
B. S.
-
er the Ram!
T.
-
79
S.
by
one
by
one
by
one
by
one
by
one
by
one
This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.
by
one
by
ff S. Solo 89
T. Solo
S.
B.
S.
A.
of Pride
one
by
one by
one by one by
one
by
one by
by
one by
one by one by
one
by
one by
one by one by
by
ff
one
by
one by
one by one by
one
by
94
son,
son,
B.
son,
God
God
God
God
will
will
will
will
pro - vide
Him -
pro - vide
pro - vide
pro - vide
legato mp
And A - bra - ham
legato mp
And A - bra - ham
self
a
said,
And A - bra - ham
lamb
for
a
burnt
lamb
for
a
burnt
self
a
lamb
a
burnt
a
lamb
for
a
Him -
self
burnt
off -
a
for
"My
"My
said,
Him -
"My
self
legato
one by
"My
said,
mp
said,
Him -
one by
legato
ff
by
And A - bra - ham
one by
one
mp
ff
ff
son,
T.
one
one
T.
in - stead of him.
A.
ff
Off- er the Ram
7 q = 85
off
off
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off -
-
-
er
-
-
er
er
er
-
-
8
98
S.
ing."
A.
(Solo)
One by
one...
mf
One by
one...
(Solo)
ing."
T.
Singers individually and gradually echo the soloist. Out of time as many times as desired.
One
ing."
by one... (Solo)
B.
(Solo)
ing."
S.
One
103
T.
sfp
p
p
clave the wood, and went,
So
A - bram rose,
So
A - bram rose,
sfp
and
mp
So(n)
And took the fire with him,
A(n)
mp
mf
A(n)
and
pp
pp
And took the fire with him,
sfp
B.
So(n)
A(n)
A(n)
by one...
clave the wood, and went,
A.
q = 100 sfp
and a knife.
and a knife.
pp
pp
and a knife.
and a knife.
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Program Notes In the Spring of 2013, I was blessed to sing Benjamin Britten’s War Requiem as a member of the University of Kentucky Chorale. Though I had heard the work before, Dr. Johnson invited his graduate conducting students into a detailed study to prepare for the performance. This was when Wilfred Owen’s poem The Parable of the Old Man and the Young first captured my attention. I found myself bothered by his alternate ending and wanting to shout, “But that’s not how the story goes!” As rehearsals continued, I returned to that text, eventually realizing that it depicts the way the story often plays out in real life. Owen was reflecting on the ironically titled “War to End All Wars,” while Britten chose the text as commentary on that particular war’s sequel. He composed the Requiem in the midst of the Cold War, shortly after the armistice in the Korean War, and at the beginning of hostilities in Vietnam. Obviously, “the Ram of Pride” was still alive and well, despite sacrificing “half the seed” of far too many continents. Owen’s warning invaded my psyche, and I wanted others to wrestle with its questions. Knowing firsthand the challenges of performing the War Requiem, I decided to write something a choir could sing without two orchestras, three soloists, and a boychoir—preferably something that also presented the original tale as a contrast. The plan crystalized over the summer of 2016, and after some fantastic feedback from my dear friend (and Triad founder) David Harris, the final version took shape on a quiet, peaceful, sun-kissed morning while on holiday in St. Maarten. The parable presents a relentlessly confrontational choice: humility vs pride; life vs. death; peace vs. war. Though one may see it as a rebuke of national hubris, these concepts resonate most vibrantly for me when held up to the daily decisions of life. In our habits of commerce, travel, communication, and the like, may we move consistently toward humility, life, and peace. —J.D.B. If you enjoyed A Parable of Choices, please also consider the following works from my catalog, available at or coming soon to MusicSpoke.com: Commissioned to celebrate the ordination of a deacon, All Things New (SATB Choir and String Quartet or Piano) speaks to the human desire to improve ourselves and our world. Built upon a handful of symbolic musical motives, this piece yearns, grows, and eventually comes to rest transformed and inspired. Fire and Ice (SSATB, a cappella) along with Quibbles and Quirks for wind quintet and Conflictions for brass quintet, began as exercises in counterpoint. Though I didn’t conceive of them as a set, upon further reflection, I see them as having remarkable similarities. All are for five voices, involve imitation, and represent conversations. Fire and Ice, in particular, takes the well-known poem and weaves it into a dialogue—at times an argument—inviting both choir and audience to take sides. Because the text is so familiar, I didn’t concern myself with clarity in its setting, instead focusing on the similar vowel sounds central to key words. This leaves the conclusion up to the audience’s decision, even as late as the final chord, where both fire and ice sound simultaneously.
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Lacrimas (SATB with mezzo-soprano solo, a cappella) weaves the familiar Psalm text, "They that sow in tears will reap in joy" into a poignant moment from St. Augustine's confessions: "And sending out tears, where I was holding them in, so that they should flow so smoothly, they spread out beneath my heart and it rests on them." Musically, the piece develops in waves that emanate from the opening “sobbing” gesture. The University of Alabama in Huntsville Chamber Choir premiered the work under the direction of Dr. Erin Colwitz- Dehning as part of the Huntsville New Music Festival of 2011. Thomas Moore’s Minstrel Boy (SATB or TTBB with piano) describes an iconic “warrior bard,” committed to defending not only land, but ideals. For him, freedom of thought, speech, and art was more important than his life, and this strong and creative soul preferred death to oppression. While this tune has long been associated with memorials for first responders, I also see it as a call to arms for artists. Join us on the battlefield of ideas with harp and song and voices. O nata lux (SATB, a cappella): On September 12, 2001, members of the University of Tennessee Concert Choir walked into our choir room in a state of shock. Reeling from the previous day’s attacks, none of us really wanted to rehearse, but somehow we knew it was exactly where we needed to be. After warm-ups, we sang Morten Lauridsen’s setting of O nata lux, which we had just begun to learn. Suddenly, the music took on a new meaning and ushered in a memorable hour of sharing, crying, and healing. Something about the line, “for the sake of the lost ones” stuck with me, and over the next several days, I developed my own musical response to both the tragedy and text that had invaded all of our lives. I am humbled by so many beautiful settings of this prayer and in some ways feel ill-equipped to offer yet one more. However, I continue to count it among my favorite compositions. Winner of the 2013 American Choral Directors Association Brock Memorial Student Composition Competition, Redemption Mass (SATB chorus, wind quintet, piano, and percussion) is a tuneful, rhythmic, and inspiring setting of traditional and nontraditional texts. The simple, yet haunting Kyrie evokes ancient chants, while the rhythmically driving Gloria uses overlapping ostinato paints a picture of the Heavenly throne room described in Isaiah 6 and Revelation 4. Credo is an exuberant statement of faith filled with text painting, while the most accessible movement, Sanctus, is an uplifting song of praise again referencing the scene in Isaiah 6. Finally, Agnus Dei recalls themes from previous movements of the Mass against a stunning wall of sound, erupting into a passionate plea for peace. Commissioned and premiered by Louisville's Youth Performing Arts School Gentlemen's Ensemble, under the direction of Jacob Cook, for the Intercollegiate Male Chorus Festival of 2014 hosted by Rutgers University. …with music… (TTBB, SATB, or SSAA Choir and Piano) combines two previously unpublished songs by Kentucky Composer (and graduate of Louisville's Manual High School) John Jacob Niles. Come Gentle Dark and Epitaph provide a poignant look into the composer's later views on life and death interwoven with beautiful melodies and subtle harmonic surprises. This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.