The voice of God is a constant and powerful theme in this psalm — thundering over the mighty waters, shaking the wilderness, breaking cedars or flashing forth in flames. The psalmist (said to be David) assures us that through all the elemental turbulence of life, the divine spirit reigns supreme.
A familiar voice from someone well-known but out of sight is often easy to recognise and identify. There is no need to analyse the pattern of frequencies, the combination of harmonics, or the different degrees of resonance. The subconscious sifts. The psalms, poetic and mystical though they may be, are full of voices. The fact that we do not always immediately identify them suggests lack of familiarity. However, it’s also of course because of that poetical and mystical nature. Take the voice of divine influence. In the business of daily life we seldom pull up short and say: ‘That’s a heavenly voice speaking.’ Psalm 29 says the voice of God is to be found in many ways:
- over the waters
- full of majesty
- breaks the cedars of Lebanon
- flashes forth flames of fire
- shakes the wilderness
- causes the oaks to whirl
- strips the forest bare
John Greenleaf Whittier‘s prayer was: “Speak through the earthquake, wind, and fire, O still, small voice of calm!” All this suggests the need to be attuned to the environment, natural, social and cultural, not just the flow of our internal thoughts. Then, the psalmist seeks more than just hearing. The final verse of Psalm 29 is a prayer:
May God give strength to the people! May God bless them with peace!
This concluding prayer for peace suggests a familiar and beautifully harmonised Taizé chant as the antiphon: “Dona nobis pacem cordium, give to us peace in our hearts”. Sing it twice as a refrain. The text of this psalm falls into place easily using the same chords and basic tune of Jacques Berthier’s nice little melody. This is very effective presented by a soloist acting as story-teller.
Everett in TEP also homes in on this very relevant prayer for the modern world, in a lilting refrain over one of his typically inventive chord progressions.
A more lively song in PFAS 29B, by Lorenzo Florian 1985, is one of those attractive Spanish tunes with good plain harmony, including a few surprise chords, and a little swing. (Is everything Spanish so much fun to sing and play?) Definitely worth a try if you have any Spanish heritage represented in your group. A more conservative (and less inclusive) double tone and refrain (Willcock) is to be found in TiS 17 for the plain vanilla treatment if preferred.
Although Brahms wrote a nice motet drawing on Psalms 22 and 29, he calls for a double choir. Few easier classical settings recommend themselves to a small group of singers. Remember you can always grow your own.
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