All Things New Julian David Bryson (Full Score) SATB choir, soprano and tenor soloists, and string quartet or piano
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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
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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
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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
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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.
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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
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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
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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
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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
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V.S.
12
51
S Solo
Full Score
C
mf
A
S
A
T
B
C
V1
V2
Vla
pp
Vc
pp
pp
pp
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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.
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(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.
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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.