Two Psalms

Craig Biondi
(2010)

Psalm 3:1,2 Lord, how are they increased that trouble me! Many are they that rise up against me.
Many there be which say of my soul, There is no help for him in God.
The music begins as if immediately dropped into the midst of a ferocious battle.
Every effort should be made by all performers to convey a sense of chaos and desperation.

q = 84

         
ff with much anguish
  
Soprano         
A - do - nai! A - do - nai! Me - r - bu tzr - i!

Violoncello Freely improvise using the provided figures. You may play the figures in any order, tempo or octave,
and may repeat each as often as you like. Begin with the figure marked with a "*" in the octave shown.



Percussion Freely improvise using a large battery of assorted unsnared drums.

Improvisations should be chaotic and free of any sense of rhythm or pulse.

Amid the chaos, periodically reference the following march figure:

q = 84


This gives a reference tempo for the vocalist and provides a subtle
underlying pulse. It is not necessary to play the march figure exactly
as written each time. Feel free to play only portions of it, or to repeat
sub-phrases as desired.

Begin the piece boldly with improvisation, not with the march figure.

A good ratio for this section would be:

60% IMPROVISATION
40% MARCH FIGURE

Copyright © 2010 by BIONDI MUSIC

All rights reserved. Unauthorized copying, arranging, adapting,
or recording is an infringement of copyright.
Visit www.craigbiondi.com for contact information.
2

         
S.                
A - do - nai! A - do - nai me - r - bu tzr - i!
(5")
fp
Vc. 

(5")
fp
Prc. 

molto
ff
                
S.            
A - do - nai! Me - r - bu tzr - i! A - do - nai me - r - bu - tzr - i!

no break
Vc. 
resume aggresive dynamic levels

no break
Prc. 
resume aggresive dynamic levels

60" 15"
A With reckless abandon molto accel.
  
S.    

With reckless abandon molto accel.

 
Vc. A clashing, freely-improvised battle with percussionist. Improvisations should be chaotic,
percussive and unrelenting, wide-ranging and free of any sense of rhythm or pulse.

Prc. A clashing, freely-improvised battle with cellist. Add a wide assortment of metal objects
and instruments (no cymbals), and continue to use drums. Improvisations should be

chaotic and unrelenting, free of any sense of rhythm or pulse. Do not reference the march

  
figure from the previous section.
 3

B q = 84 with growing desperation


3
       (gliss)   
             
ff
S. 
3
A - do - nai me - r - bu tzr - i! R - bim q - mim ol - i! R - bim q -

Freely improvise using the provided figures, as in the beginning.


(sul D,A)

  
Begin again with the figure marked with a "*" in the octave shown.

Vc.
fff



 (REST!)    3  Freely improvise using only drums (no metals), as in the beginning.

         
Continue to reference the same march figure:

Prc.
fff 
q = 84

rit. C Labored, in strict tempo q = 140

           
7

    
S.   
mim ol - i! R - bim q - mim ol - i!

 
      
no break

(scratchy)
(cue percussionist)
    
  
 ff
Vc. 
sfp ff sfp

*All drums and metals may be used freely.

no break
       
(cellist cues downbeat)
Prc.     
 

 

ff 
Continue out-of-time sim. for

wild improvisation for all boxes
duration of box.
4


8

         
S. 
indeterminant pitches extreme high
   

(extreme high register) register

      
scratchy
   
3

          
   
Vc.
 3 3

sfp ff fff sfp sim. sfp sfp

    
          
  
 
    


Prc.
      
3 fp (no cresc.) sfz ff
  3 fp sim.

    

scratchy
   
fast tremelo

12
on ascent

        
      
  
Vc.

extreme low
sfp sfp  sfp 
register

  
            
   
  

Prc.  
ff  fp

D
    

scratchy
            
19
      
        

        
 
Vc.
sfp  fff 

  
3

             
            
  

Prc. 
3
fp ff

extreme high

   
register (sim.)

       
    
      
24 (sul D,A)

   
  
        
       
Vc.
  

3  3 
                  
                
 3 3
     

     

   
 

Prc. 
3 3 fp ff 3
 5

 
             
28

  

   
3
            
           
Vc.


       
                                
  3 
Prc.        
3 3 3 3 fp 3

  
             
32
     


3 3 3
                       
              
Vc.
 

       3             
               
3 3 3

    


    

Prc. 
fp ff 3 ff 3 3

  
5
 
38 5
3
           
   
        

                    

  
  
Vc. 
 

 
  








  







Prc.  
3 fp fff p fff p fff p fff p

43   
      
(no trem.) (sim.)

Vc.          

fff fp fff

          

     
Prc.   
fff
6

E With Momentum (q = q)
49

S.         
 

   
   (no trem.)

Vc.        
pp cresc. (slow gliss.)
fff

      
3  3 3 to Vibraphone
                        
       
Prc.     
mp pp n

55
mp sempre
S.         
R - - - - - - bim


         

Vc.

mf p n

                                                      
Vib.  
mp mf
 sempre

58

S.                
am - - - rim, R - - - bim am - - - rim,

with much anguish

Vc.       
   
mf

                       
Vib. 

61

             
S.  
R - - - bim am - - - rim, R - - - bim

Vc.       
   

                      
Vib. 
 7

64

S.                
am - - - rim, R - - - bim am - - - rim,

 
         
   

Vc.
     f

                              
Vib. 

67

S.                
R - - - - bim am - - - rim, R - - - bim

Vc.        
     
mf f mf f

                           
Vib. 

70

S.         
am - - - rim, n

3 
Vc.                  
mf mp pp

                          

Vib. 

Spoken (disgusted, mockingly):

15"
 
73

S.   

  
    
Vc. 
n

continue E# 16ths without interruption, move from vib. and

throughout fermata freely use metals and drums (continuing 16ths)

                             
Vib.   
pp
molto, molto
8

molto rit.
15" F q = 84
76

     
S.  

  
(extreme high register)

      

 
     
    

Vc.

fff

molto rit. raucous, out-of-time

continue 16ths, like an engine improvisation (as before)

slowing all the way down with drums, metals

 
 

Prc. 

  
ffff


fff maximum desperation shout!
   
81

S.         
A - do nai! A - do nai!

     3
                  
3

 
     
Vc.
              

 
(cr.cym.) (cr.cym.)

    
(tm-tm) 3 3 (tm-tm)

           
(drums)
 

Prc.  

(low tom/

(low tom/ (low tom/
B.D.) B.D.) B.D.)

20" 20"
G All-consuming climax molto accel.
      
shout!
   
85

S.        
A - do - nai!

     All-consuming climax molto accel.

     
   
Final battle with percussionist. Freely
  
Vc. use all motives played prior to this point. 

Prc.     Final battle with cellist. Freely use

all drums, metals, and cymbals. 
 9

(arms and head raised to heaven)

H
20"
90 ffff
 
           
S.
 
(SHOUTED:) But Thou. O Lord, are a SHIELD a - bout me!!!

q = 60
"shield"

Piano (for each measure,

l.v. for indicated duration)

(Soprano: But Thou, O Lord are a SHIELD about me!!!) remain at full force
Vc.  

(Soprano: But Thou, O Lord are a SHIELD about me!!!) remain at full force
Prc.  

5" 20"
 
92

S.   

Pno.

dramatically undulating dynamics n fff n

Vc.   

dramatically undulating dynamics n fff n

Prc.   
(no more cymbals, tam-tam)
10

15" 5"
 
94

S.   

Pno.

mf mp
continue undulations, but begin to lessen overal loudness and activity continue to lessen
Vc.   

mf mp
continue undulations, but begin to lessen overal loudness and activity continue to lessen
Prc.   
(no more metals, only drums used)

30" 15"
 
96

S.   

Pno.


activity becomes more and more sparse


(the final, inconsequential skirmishes of the great battle) silence
Vc.  


activity becomes more and more sparse


(the final, inconsequential skirmishes of the great battle) silence
Prc.  
 11


(Speak with utter calmness, as if at complete rest and peace.
S. Speak at a relaxed pace, and no louder than mp , even
though some text won't be completely heard by the listener.)

(English) But Thou, O Lord, are a shield about me.

Pno. (l.v. until completely faded)


Vc. 


Vc. 