Psalm 26

We find early in this song an echo of Psalm 1. The writer, thought to be David, declares his innocence and refuses to ‘sit with the wicked’ (v. 5). He offers a prayer for justice and confirmation of sticking to the ‘right way’ — that powerful word ‘integrity’ occurs at beginning and end in some translations.  Psalm 1 assures us that blessings will reward such a choice.

All other ground is sinking sand? (Murray River mouth)
‘… All other ground is sinking sand’ 

Psalm 26 thus declares the wonders of divine love and encourages personal integrity, that we might sing confidently with the psalmist:

My foot stands on level ground (v. 12)

Such poetic phrases leap out of the psalms all the time. It will depend on the eye of the beholder, of course. Composers writing refrains for Psalm 26 seem to agree that themes of love and faithfulness appeal:

  • Isaac Everett in TEP imagines this psalm as a good processional or call to worship, and recalls Jesus setting his eyes on Jerusalem. He thus selects verse 3 and modifies it slightly to: ‘I’ve set my eyes on your love. I walk in faithfulness to you.’ Typically, he slips from past into present (and often future) tense. Also typically, it’s a nice flowing refrain. This one starts in E minor, going through the relative major and associated chords and ends in a B7 turnaround.
  • John Becker in PFAS 26A is right there with Everett. His paraphrase of verse 3 in a similarly structured refrain goes: ‘Your love is before my eyes; I have walked faithfully with you.’
  • Josef Haydn much earlier (1794) wrote a trio entitled, rather mysteriously: ‘How oft, instinct with warmth divine‘. The word ‘instinct’ in this case is archaic and means imbued, as the singer continues ‘…thy threshold have I trod.’ So Haydn was captured by ideas later in the psalm,  notably verse 8. His subtitle says: The Psalmist declares his Love for God’s House and determines to bless God. Reminiscent of Joshua’s “As for me and my house …” (Josh.24:15).

200 years earlier again (1597) Giovanni Gabrieli, in a major work for two choirs of five voices, eschewed key words and just went with the first five verses. The incipit provides the title: Iudica me Domine/Be thou my judge, O Lord, for I have walked innocently.

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