This psalm offers encouragement in difficult times, weaving together two contrasting but commanding threads. First is the imagery of light, beauty and goodness. Calling to mind references to the ‘light of the world’ (John 8:12) and ‘light upon my path’ (Psalm 119:105), it is a theme found in many psalms. Many readers will be familiar with the opening verse:
“God is my light and my salvation; whom then shall I fear? God is the strength of my life; of whom then shall I be afraid?”
The psalmist asks but one thing, to dwell in that divine aura forever, to see beauty all around and commune with that spirit of love. (v.4)
Second is the idea of refuge — protection, salvation and shelter from danger or persecution. This second theme of heavenly care in adversity is also mentioned frequently elsewhere in the Psalter, perhaps even more often than light — maybe there was more adversity than light in those days. Here, David feels that his enemies surround him; his answer is to sing. (v.6) The psalmist thus merges illumination, guidance and clarity together with security and forgiveness.
Music
Considering that this poem is set only twice in three years of the Lectionary cycle, it has been unusually popular with musicians. Perhaps the potency of the blend of those two themes is the key. Verse 1 quoted above is clearly suitable as an antiphonal response, and many of our sources base a refrain on some variation of this idea. Looking first at modern settings, one blog suggests over 20 songs. A partial summary of some good choices follows.
The Taizé round The Lord is my light is appropriate in this context. A gathering used to singing these songs will relish two tunes blended together as well as the two entry points for each theme, making effectively four parts. The sound will be effective unaccompanied or with a light backing of guitar, flute or such instruments.
Psalms for All Seasons offers no less than ten settings, including this Taizé round. A discussion of the whole list is tempting; but since responsorial settings are preferred, suffice to note that all (27A from Taizé, B, E, F and H) rejoice in that first verse, highlighting either the ‘light and salvation’ or the ‘strength and courage’ topics, or both.
Everett in TEP also uses the second of these two themes.
A different approach, using as response a verse from Isaiah “Do not be afraid I am with you”, will be found in Together in Song no 16, a paraphrase of the verses with a beautiful setting by Christopher Willcock. Enchantment springs in part from his imaginative and unusual harmony changes, moving between Eb and EΔ tonalities accompanied by related chords, and all supporting a lilting tune. The text is from the selection in Year A, rather than the Lenten reading for Year C as at present. Nonetheless, the result will be uplifting and readers can always look up the other verses for themselves.
The home-grown setting shown below is equally restrained but a little more challenging for singers.
This little piece is locally known as the ‘Half-dim’ antiphon acknowledging several half-diminished chords (minor seventh flat five, subject of longer discussion in a February 2016 post). ‘Half-dim’ is perhaps an unfortunate title when rejoicing in the bright rays of divine light on our meandering path. Anyway, cantors can have a nice time; sing the paraphrased verses to the same tune, taking care to observe the unusual internal chord intervals as accurately as possible.
Psalms in the South 
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