Psalmist Asaph begins by casting into a shimmering spotlight some energising phrases:
Raise a song and sound the timbrel, the merry harp and the lyre. Blow the ram’s horn at the new moon, and at the full moon (v.1, 3)
Then this touch of mystery:
I hear a voice I had not known: “I eased your shoulder from the burden You called on me in trouble and I saved you; I answered you from the secret place of thunder and tested you at the waters of Meribah” (vs. 5-7)
Asaph was one psalm writer who knew his history and used it in his songs. Whether today’s reader knows the background or not, the poetry sparks thought, dreaming, soaring imagination and hope.
Meribah, for example, refers to a real historical event (disputation, angst and water from the rock; Num. 20). Knowing the history helps. If not, you just say: “Some secret, ancient or holy places, I imagine.” One can still feel the warmth of being in the company of a great cloud of witnesses, hopeful humanity, whoever they are.
Music
The upbeat refrain in The Emergent Psalter (Everett notes: “This antiphon sounds great with power chords and a little distortion”) uses that mysterious verse 5 quoted above.
Psalms for All Seasons has a small clutch of offerings that most musicians would relish. Like the phrases already mentioned, they seem to display a theatrical bent:
- 81A Sing with joy, antiphonal, with solo and tutti voices and verses to a tone; words and music traditional Malawian
- 81B Strike up the music! with a quiet ostinato of ‘Hear my voice’ behind the reading of the verses (and an added flute part)
- 81C in hymn style, and therefore not our choice, but interestingly breaks for ‘a reading of the law’.
Predictably, that opening call to raise a joyful song and blow the ram’s horn captured several classical composers such as Byrd (two setting for 5 and 6 voices), Hassler, Palestrina (again à5) and Scarlatti (SATB).
[PS. This is the 200th post. 150 psalms, and still 17 ‘un-blogged’.]
Psalms in the South 