All Things New | Julian David Bryson | MusicSpoke

All Things New Julian David Bryson (Full Score) SATB choir, soprano and tenor soloists, and string quartet or piano

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

Text and Translation Reina Valera Antigua (1602) Alma mia, reposa solamente en Dios.

King James Version (1611) Psalm 62:5 My soul, wait thou only upon God. Psalm 40:1 I waited patiently for the Lord;

E inclinóse á mí, y oyó mi clamor.

Con Cristo estoy juntamente crucificado, y vivo Christo mas vive en mi.

Expectans expectavi Dominum.

And He inclined unto me, and heard my cry.

Ezekiel 36:26 A new heart also will I give you, and a new spirit will I put within you: and I will take the stony heart out of your flesh, and I will give you a heart of flesh

Las cosas viejas pasaron

Vulgate (4th Century)

et auferam cor lapideum de carne vestra et dabo vobis cor carneum

2 Corinthians 5:17b Old things are passed away Galatians 2:20 I am crucified with Christ: nevertheless I live; Yet not I, but Christ liveth in me 2 Corinthians 5:17c Behold, all things are become new.

Vero Christus Vivit in me Ecce facta sunt nova

Premiered by the Nickl Festival Chorus, June 4, 2016 First public performance by Triad: Boston’s Choral Collective, April 8, 2017

Cover image, Wyoming Sunset taken by the composer, June 19, 2017

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

Commissioned by and dedicated to Nicholas John Nickl in commemoration of his ordination to the Permanent Diaconate in the Catholic Church, June 4, 2016 at the Cathedral of Christ the King, Diocese of Lexington, Kentucky.

Full Score

3

All Things New Texts excerpted from Ps. 40:1, Ps. 62:5, Eze. 36:26, 2 Cor. 5:17, Gal. 2:20 (King James Version, Latin Vulgate, and Reina-Valera Antigua) p     S     

q = 85

My soul,

A

T

      

   V1      V2

Vla

wait thou



 

on - ly



  

up - on God,

    

Al - ma mí - a,

  

re - po - sa

    



   

  

    



Al - ma mí - a,

re - po - sa

so - la - men - te



My soul,

q = 85

 

so - la - men - te

p (Spanish: My soul, wait thou only upon God,)



p        B   



p (Spanish: My soul, wait thou only upon God,)



       

Music by Julian David Bryson



  wait thou





up - on God,



pp

pp



 



 



 







 



 



 

     

     Vc    pp

pp









 





  

on - ly



en

en

 

      

 

 





 

Copyright © 2016 Julian David Bryson All Rights Reserved. Licensed through MusicSpoke.com.

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

License is non-transferrable. Director should have a copy of the license to legally use this music.

All Rights Reserved. Use without a license is stealing and is ILLEGAL.





V.S.

4

     9

S

A

  



Dios.

T

Full Score (Spanish: My soul, wait thou only upon God,)

   

Al - ma mí - a,

 

        Dios.

  B  



  

re - po - sa

 



 



My soul,

My soul,

     so - la - men - te

 



 



wait thou

wait thou

(Spanish: My soul, wait thou only upon God,)

   

  

    

Al - ma mí - a,

re - po - sa

so - la - men - te



 

en

 

Dios.

 

on - ly,

on - ly

 

 

on - ly,

on - ly



 en

 Dios.

  V1   

 



 



 



 

V2

   

 



 



 



 

Vla

  

 



 



 



 

 



 

   Vc  



 



This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.



 



  S   

Full Score

5

17

A

  

  

Al - ma mí - a,

  

up - on

T



God,



 My

Al - ma mí - a,

en



   





  





   Vc  





Vla

My





V2





   V1  



en





Dios.







so - la -

mf

         up - on God,

     B  



mf









soul,

soul,







up - on

up - on









Dios.









God,



on -

mf

God,



 on -

mf



so - la - men - te







mp

 

mp



mp



mp











  



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



V.S.

6

   S  

Full Score

22





men - te

A

    ly

T

  B  



 re

  V1   

re - po - sa



 



wait

thou

thou

  -

   Vc  



  



 



on

-

  

on

-

ly

ly



 

so - la - men - te

pp

  

pp

I







  

























I

I



          

I

 





Vla

   pp



   





so - la - men - te

  

po - sa

V2



  

 

 

wait

      ly



pp

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

Full Score

3       S           

27

A

wait-ed pa - tient - ly for the

A

Lord.

     I

3

    

wait - ed

pa - tient - ly for the

3                    

  

3

wait-ed pa - tient - ly for the

T

7

Lord.

I wait-ed

 

pa - tient - ly for

the

 3     3                       wait-ed pa-tient-ly for the Lord.

I wait-ed pa - tient - ly for

3                B   

wait-ed pa - tient - ly for the

Lord.

     I

  the

wait - ed

pa - tient - ly for the











  











Vla

 











Vc

   











V2

Lord.

  3   

  V1  

A

Lord.

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

V.S.

8

Full Score

  S    30

Lord.

A

  



  I

   B  

  

for

mf

V2

Vla

Vc

pa - tient - ly for



the



  

Lord.



 3



I wait - ed

pa - tient

- ly for





Lord.

   V1  

  

 I

  



the



Lord.

 



(Latin)

Ex -

(Latin)

       

     



wait - ed

3

I wait ed pa - tient - ly

T



3



the





     

Ex - pec - tans ex - pec - ta - vi



Lord.

    (Latin)

Ex -pec - tans

  3    

wait - ed



  





 





   







pa - tient - ly

for the Lord.







p

  mf

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

   

  S        

Full Score

9

33

pec - tans ex - pec - ta - vi

A

     



Do - mi - num.

T

 

Do - mi - num.

Ex - pec - tans ex - pec - ta - vi

 (Latin)        B     V1    V2

Vla

Vc



      



mf

 

 



    

Ex - pec - tans

    

Ex - pec - tans ex - pec - ta - vi

     

Ex - pec - tans ex - pec - ta - vi

     

           ex - pec - ta - vi Do - mi - num.

  

 

  

Do - mi - num.

  

 

Do - mi - num.

Do - mi -

      ex - pec - ta - vi

Do - mi -

     

Ex - pec - tans ex - pec -







  



















p



This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

 V.S.

10

  S     

Full Score

B

36

Do - mi- num.

A

  



num.

T

B

     num.



  

E in - cli - nó - se_y o -

f (Spanish)



   

Do - mi- num.



  

f (Spanish)



Vla

     

  Vc  

  mf

    

   

   

   

E in - cli - nó - se_á - mí in - cli - nó - se_á - mí y





B

  p



f (Spanish)

E in - cli - nó - se_á - mí y

ta - vi Do - mi- num.

V2

      

E in - cli - nó - se_á - mí in - cli - nó - se_y o -

        

   V1  



Do - mi- num.

  



     

f (Spanish)

     





 



 

mf



















mf

mf

  

  



 

mf

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

o-

o-

Full Score

    S   42

yó

A

     yó

T

       yó

  B   





mi

cla





mi

cla





mi

cla



yó

mi

 -

-



mor,

-

 

mor,



 cla

mor,

 -



11

 



And heard

 

my



cry.





my



cry.



     





mf

mf

And heard mf

And



mor,

heard

my

cry.

 mf 





And heard

my

cry.



      V1   





































































V2

Vla

       

  Vc   





This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

V.S.

12

    51

S Solo

Full Score

C











 

mf



A

  S    











A

   











T

    



























 

   B      



  



C

V1

V2

Vla

     pp

  Vc  





pp

   

 

 

 







 

pp



 

 

 

 

pp

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.



     57

S Solo

Full Score

  



new heart

will

I





give

13

   



you,

and a

new

 spi - rit

will I

  S  











  











T

   











B

  











A

V1

     

V2

   

Vla

    

Vc

    









    

   

 



  

 



  p



       

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.



p



p

V.S.

14

    

Full Score

61

S Solo

put

T Solo

     

with - in

    



you. f (Latin)



Et









  

au - fe - ram

 cor





   

   

la - pi - de - um

de

car - ne

  S  













  













T

   













B

  













 

  

A

V1

V2

           p

Vla

Vc

       

  

   

 

       

       

   

  

 

 



  

 

  







This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

Full Score

    66

S Solo

T Solo





      





et

da

f (Latin)



15

 

-

bo



  

vo - bis

A

T

        

 B   



cor



Vla

Vc

   

-

 





The

sto - ny heart.



mf



sto - ny heart.





The

  



  







The

sto - ny heart.

mf



  





The

sto - ny heart.



mf

 

 

         

car - ne

car

  

mf

    V1    V2



-



mf

ves - tra,

   S  

cor



  

 

mp

 

 

mp

ne -

 

 



 

 

 

 









mp

mp

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

V.S.

16

Full Score

    

D

71

S Solo

-

T Solo





















um.

    

um.

   S  

mp

(Spanish)





A

A

   

heart

T

 B   

Vla

Vc

flesh,

A

heart

 



of

flesh,



Las (Spanish)





heart

mp





A

heart





A

heart

mp

D        V1    V2

of



mp

A

    



  

   

of



flesh,

A



heart

(Spanish)

   

 

of

co - sas

flesh, Las

   (Spanish)    of

flesh, Las

co - sas

      

       

           

  

     



mf

mf



 



of

flesh,

 



mf

Las

    

vie - jas

pa - sa - ron,

     vie - jas

pa - sa - ron,

  

 

 









mf

 



This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.



Full Score

  S    

17

77

A

   

co - sas

vie - jas pa - sa

    

   

co - sas

T

B

         

vie - jas pa - sa

   Las

co - sas

   Las

co - sas

    V1     V2

Vla

Vc

              

 

 

-

ron,

-

 

ron,



 

Las

co - sas



 

Las

co - sas

  

vie - jas

  

vie - jas

     

vie - jas pa - sa - ron,

  



    

   



vie - jas pa - sa - ron,



pa -

pa - sa - ron,

pa - sa - ron,

pa -



pa -



pa -

  

   

  



  

 







This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.



  

V.S.

18

Full Score

     83

S



sa

A

-

    



sa

T

     sa

  B   sa

ron,

-

-

-



ron,



ron,

E

   







ron,

mp



Las



                



                

Las

Las

mp

co - sas vie - jas pa - sa - ron, Las

co - sas vie - jas pa - sa - ron, Las

mp

co - sas vie - jas pa - sa - ron, Las

   V1                pp

co - sas vie - jas pa - sa - ron, Las

E



V2

                pp



Vla

           



pp

  

         Vc    pp

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

 

Full Score

  S   86

A

  



mf





19



Con





co - sas





vie - jas







pa - sa - ron,

Chris



Las



 -

to





co - sas



vie - jas

T

                                co - sas vie - jas pa - sa - ron, Las co - sas vie - jas pa - sa - ron, Las co - sas vie - jas pa - sa - ron, Las

B

                                   

co - sas vie - jas pa - sa - ron, Las co - sas vie - jas pa - sa - ron, Las co - sas vie - jas pa - sa - ron, Las

  V1  







  







Vla

 







Vc

   







V2

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V.S.

20

   S  

Full Score

89

A

   



es



 -





toy



pa - sa - ron,

jun - ta



Las





co - sas









vie - jas

-

men

mf



 -

te





pa - sa - ron,



Las

                             co - sas vie - jas pa - sa - ron, Las co - sas vie - jas pa - sa - ron, Las co - sas vie - jas pa - sa - ron, Las mf

T

mf                              B     

co - sas vie - jas pa - sa - ron, Las co - sas vie - jas pa - sa - ron, Las co - sas vie - jas pa - sa - ron, Las

  V1  







  







Vla

 







Vc

   







V2

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

  S   

Full Score

92

A

    









cru - ci

co - sas

T



 -

fi



vie - jas

21

-



ca

-





-



pa - sa - ron,

-



Las





do,

y

       

co - sas vie - jas pa - sa - ron, y

                                   co - sas vie - jas pa - sa - ron, Las co - sas vie - jas pa - sa - ron, Las co - sas vie - jas pa - sa - ron, Las

                           B  

co - sas vie - jas pa - sa - ron, Las co - sas vie - jas pa - sa - ron, Las co - sas vie - jas pa - sa - ron, Las

  V1  







  







 





   





V2

Vla

Vc



pp

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

 V.S.

22

  f S   95

F

vi

A

f    

vi

T

f      vi

f    B  

vi

  V1   

F

V2

Full Score

 -

-

 -

-

-

-

-

-

y





vo,

y

vi







vo,

y

vi







vo,

y

vi



              

-



-

 -

-

 -

-

 -

-





    mf



vo,

y





vo,

y





vo,

y





vo,

y

   

mf



mf

mf

Vc

vi



 

pp

Vla



vo,



   



















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Full Score

   S   99

A

   

vi

T

     vi

  B  

-

-

 -

-

 -

-

 -

-



 -

-

-

-

-

 

vo!



-

 



vo!



ff

V2

Vla

Vc





  





   



 ff





 I

                 V1     

 I



-



vo! ff

-

 I

ff



 I

ff

 -

 

vo!



 vi



ff



vi

23



 

    



ff











ff

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.



V.S.

24

Full Score

   S  

 

   

 

     live!

 

103



live!

A

I

live!





I

live!





I

live!





I

live!

live!

T

  B  







live!

    V1     V2

Vla

 





               

  Vc  



 

 

  



  

 

  

     



   

  



 

   

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

  S    107

A

T

G

        

   B  

Full Score ff









Yet,

not

I.

Yet,

ff







Yet,

not

I.





Yet,

25





not

Not



 I.



Not







not

I.

Not







not

I.

Not









not

I.

Yet,

ff









Yet,

not

I.

Yet,







  

  





ff

      V1 

Yet,



   



Vla

  



Vc

    















I.



G

V2



not



  







This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

 

V.S.

26

    111

S

Full Score



I,

A

   

T

   B  







I,

  V1    V2

Vla



rit.









Yet,



not







mf











Yet,

not

I.

Yet,

mf









Yet,

not

I.

Yet,

Yet,

I,

     I,

mf

mf



not

I.

I.

Yet,

not

 I.

Not



not

 I.



Not







not

I.

Not







not

I.

Not















   



mp









  





    











   Vc  

mp



rit.

    

mp

Yet,



mp

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

Full Score

  S    H

q = 75

116





I,

A

  

p (Latin)

     I,







   

 









q = 75



ppp

   Vc  

ppp

Christ,

p



 

 



Christ,



 

ppp



  

but

  V1        ppp

  



     but

H

Vla

   

p

I,

  



Ve - ro Chris - tus

   B  

V2



Chris - to

I,

T

  

p (Spanish)



 





27



 

 



     

   



 





 



  



This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

V.S.

28

Full Score

  S      120

A

    



   





vi

-

mas



vit

vi - ve

  

         liv - eth

 

       B   

 

T

liv - eth

   V1   





V2

   

Vla

     



    Vc   





 

  

  

 

  



en

     

in

  in

 

me.



  

Ve - ro

 

me.





mí.

     

in me.

 

  



Chris - tus.

    

Ve - ro

Chris - tus.

       Ve - ro















   

 

 

Chris - tus.

  

  



This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

 



   (Latin)   S   125

I

Ec -

A

(Latin)      

Ec -

T

ce,

ce,

(Latin)        Ec - ce,

    B     V1  

Full Score



ec



ec

 -

ce

fac

-



ce



fac





ce

fac

 ec



-

29

ta





-



sunt

ta





-



sunt







ta

sunt





ta

sunt

-





ce

fac

 



 





 



 

(Latin)





Ec -

ce,

ec







 

-

-



no - va.



no - va.

 no - va.



 no - va.

I

V2

Vla

  

  

   Vc  





 

  



 





 







 



  



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    



30

Full Score

  S     134

A

T





    



V2

Vla

  



   

   Vc  













no



















   



 



 





-

-

 no

     

-

 no

   B  





no

   

  V1  





 



va.



 





 



 



va.

va.

 -

va.







 









 

 

















 



This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

Program Notes All Things New was commissioned by Nicholas John Nickl to commemorate his ordination as a deacon. The libretto was compiled from a list of his favorite scriptures, and the languages allude to Mr. Nickl's missionary service to the people of Kentucky and Ecuador.

Musically, All Things New allegorizes a near universal desire to improve upon our present condition and each individual's role in infusing life on earth with the love, joy, and peace of heaven. The composition moves from opening in minor to closing in the relative major, both of which are examples of traditional harmonies built on thirds. The string quartet interrupts the opening choral meditation with a theme of descending fourths, setting in motion a "conversion process" that awakens our ears to previously unconsidered possibilities. These new sounds gradually build into the final "I live!" which has no thirds at all, but is comprised exclusively of perfect fourths. To me, that moment feels far more heavenly than either the beginning or the ending—every time we rehearsed it, I wanted to dwell in that moment at length. Unfortunately, both life and music demand that we move on, gradually winding our way back to something more familiar, if less exhilarating.

Though we never quite forget what we felt, we also never quite reproduce the moment either. We are changed, but not yet completely.

For now we see through a glass, darkly; but then face to face: now I know in part; but then shall I know even as also I am known.

Behold, all things are become new.

—J.D.B.

If you enjoyed All Things New, please also consider the following works from my catalog, available at or coming soon to MusicSpoke.com: 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.

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

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 non-traditional 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.

This accessible setting of We Are the Music Makers (SATB and piano) brings O'Shaughnessy's famous text to life through lush harmonies, word painting, and exciting fanfares. Dedicated to the Randolph High School Class of 2011, it was premiered by their Concert Choir during their Commencement ceremonies.

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.