Psalm 105 is a song of praise, as indeed are 106 and 107 that follow. The opening lines sound familiar, as such phrases occur throughout the Bible: Confitemini Domino et invocate nomen ejus / Give glory to God, and call upon his name
The next verse narrows the focus to set the theme as historical narrative, evidence that has provided confidence for such praise: Annuntiate inter gentes opera ejus / Declare God’s deeds among the peoples. A psalm singer in the temple or perhaps by a campfire in early times would have known that his audience would conjure up a host of stories and images relating to the era, the plagues, the Passover and the escape from Egypt. The song goes on to enumerate some of them but even so, the ‘answer’ is all the more striking: leaders must arise who are right for the time. By telling and repeating, singing the familiar tunes and lyrics, people learned their history, culture, lessons from tales of the past and, osmotically perhaps, values.
Perhaps this is why the lectionary provides the opportunity to revisit this psalm three times, with slightly differing verse selections, in the space of a little over a month. The music leader can achieve continuity by using the same style and response for all four appearances of this psalm.
A beautiful five-part setting of Psalm 105 by Lassus has been mentioned previously. Lassus, together with Palestrina in Italy, Byrd in England and Victoria in Spain, was one of the pillars of Late Renaissance music. The full work may be beyond the resources of small churches but extracts can be useful for a thematic refrain:
Verses associated with this refrain might best be sung to a traditional psalm tome. These tones were designed to allow clarity of the words in the vast spaces of cathedrals and monasteries with their reverberant acoustics. Sung by voices in unison they have their own special atmospherics. A quick scan through the Missal published by Monks of Solesmes does not reveal any particular tone associated with Psalm 105. However, Tone VIII is used for various other sung liturgical elements.
A common approach was the use of a particular tone during one service for several psalms. The author has attended a couple of Tallis Scholars summer schools, during which the order of service for Compline — the last office of the day usually at 9:00 pm — used Tone VIII for all psalms sung each night. Singing several psalms morning, noon and night, the monks would complete the cycle of singing all 150 psalms in the space of a fortnight.
As to more modern sources:
- PFAS suggests a refrain comprised entirely of the word Alleluia repeated several times.
- TEP’s refrain does something similar, preceding that celebration with an invitation to sing praise.
- Still on a joyful theme but less exuberantly, NCH uses verse 3, ‘Let the hearts of those who seek God rejoice’, set to a refrain whose 5/4 time renders it more unusual.
- Some years ago at South Woden the Lassus quintet mentioned above was a source of great joy. This year, a home-grown refrain and verses in gospel style will be used on all three occurrences of Psalm 105.