Here is one of those confusing points of discontinuity between the numbering of the Latin Vulgate Psalter and the modern western translations. 114 and 115 were combined into what is now 116 in our Psalter. This explains why settings ovr the years are listed as quoting from Psalms 114 and 115. The incipit Credidi of Victoria’s setting of Psalm 116, for example, is Psalm 115:1 in the Vulgate, “Credidi, propter quod locutus sum; ego autem humiliatus sum nimis / I believed, and therefore will I speak; but I was sore troubled.” This is a nice four-part arrangement of odd verses only and thus identifiable as a vespers psalm. This verse now appears in the English Bible as Psalm 116:10, not even an odd verse. Cope.
Like Psalm 30 and others, Psalm 116 is a paean of thanks for deliverance from the power of darkness and, in particular in this psalm depending on the translation, the hold, anguish or entangling cords of the grave. So the psalmist resolves to walk in the divine presence in the land of the living (v.9) – a fine suggestion. The second half of the psalm is an act of dedication, so strongly felt that the psalmist’s declarations of trust and invocation are to be made ‘in the presence of all God’s people’, which we shall do in singing this psalm.
Such numbering disparities appear in the lists of other classical arrangements, whether having the same incipit Credidi, like those of Lassus and Monteverdi, or other titles listed as selections of Psalm 114 or 115. Besides this tempting piece from Victoria.
Paschal de l’Estocart (about 1538 – 1587) a French Renaissance composer from Noyon, who was considered to be quite an innovator, wrote a set of all 150 psalm settings including this one, J’aime mon Dieu, (Delixi quoniam which is Vulgate 114:1) from 1583. The melody is in the tenor, falsobordone style. The transcription bears the sub-heading: “Mis en musique pour quatre, cinq, six, sept et huit parties par Paschal de l’Estocart, de Noyon en Picardie.” His Psalm CXVI is for five voices.
Modern sources also call on different verses for the antiphon. As usual, the choice of medium will be influenced by the preferred message:
- The five entries in PFAS, two being responsorial, are marked by simplicity, perhaps too much if measured purely on the musical scale, which of course is not the main game. So 116D offers eight notes for eight words: “I love the Lord who heard my cry.” (v. 1) An alternate refrain is alike in brevity: “I will walk in the presence of God“, quoting verse 9. Verses are sung to a tone.
- The next choice, 116E, uses that alternate refrain of 116D with a melody (again simple) for verses added.
- NCH uses the final phrase of verse 1, “I will call on God as long as I live”, in a refrain with a little more interest — some swing, the chords alternating between Bb and Ab, and an echo voice.
- Everett’s refrain in TEP is predictably more syncopated. He goes for verse 8, focused on deliverance and guidance.
- TiS 71 avoids the prosaic by providing a double tone for the verses, and two refrains. These are drawn from verses 9 quoted above, and 12: “How can I repay?“
- And finally, a home-grown chant features the verses sung on a single note. The verses have been paraphrased to sit more comfortably in this double-tone type of arrangement. Two cantors may sing a half of each verse antiphonally. No ornamentation is shown here but may be used in moderation in accordance with the cantors’ inspiration, or perhaps to subtly reinforce the chords changes moving around underneath. Superficial simplicity:
Psalms in the South 