For All Have Sinned

"As it is written: 'None is righteous, no, not one; no one understands; no one seeks for God. All have turned aside; together, they have become worthless; no one does good, not even one.'" 

– Romans 3:10-12

[0:00] The first scene, For All Have Sinned, is divided into 4 sections, and it begins with God's call for repentance, represented by the slow, somber cello line. The cello sits in a dark, ominous soundscape consisting of a deep drone and scattered instrumental runs. While the melody sounds solemn, it is also earnest. It remembers a long, tired history of God's people going astray, yet still longs for change. 

[1:57] The piece transitions to the 2nd section with metallic bells, introducing a new mood and signifying that Jesus has entered the city. From outside the walls, it is repulsively apparent how poor the city's state is; the stench propagates into the surrounding wasteland, and dirt and grime coat most surfaces. Within the walls, however, the fumes seem alluring, almost enchanting. It is here I envision all people live, trapped by their own fleshly desires, desperately seeking pleasure in a violent endeavor to indulge. The bells that introduce the section represent sin's intriguing, seductive nature. The reckless woodwind runs and syncopation in the drums make the city square seem like a chaotic circus and give the feeling of stumbling through a drunken tour of the finest the city has to offer. Unaffected by it all, the call’s melody from the first section remains as Jesus continues his silent walk through the disarray, unnoticed by those around him.

[2:54] Of the 4 sections in For All Have Sinned, the third section is the only one where God's call is not heard. This absence indicates a numbing of our consciences, and the new tune in its place represents a careless disregard for consequence. We thoroughly enjoy the moment here and trust sin to keep delivering on its promises.

[3:39] The final section of the piece we hear God's call return but with more urgency. The orchestration adds momentum, and the call's melody, carried by different instruments, eventually returns as the bassoon in the end. This final call gives one last opportunity, one last plea for change. Even though sin has started to reveal its destructive nature to the city’s inhabitants, they are enslaved by their own desires and do not desire change.