‘God lifts the downtrodden.’ (6)
This psalm, like others in this final handful in the Psalter, is a song of praise, calling us to rejoice in the creation and the ubiquitous evidence of divine love and care.
With sudden shifts of focus, a visionary sweep of the universe, the song alternates between the earthbound to the heights of heaven, the present day to the distant past, from the stars to personal reassurance of the exile and outcast:
God heals the brokenhearted, and binds up their wounds. God counts the number of the stars; and calls them all by name. (3, 4)
We are encouraged to pull out our lyres again in order to sing those praises (7).
The second half of the psalm, which is sometimes the Lectionary selection, directs Jerusalem and Zion to delight in their favoured protection, peace and prosperity. (vs 12-14) The poet then goes on to picture world, weather, wind, and waters activated by a creative divine power.
The evident exceptionalism of the Israelites and their holy city may have been a reality in the minds of writer and target audience at the time. At the time of singing this Sunday, a reasonable interpreter might prefer to see this munificence and favour as bestowed upon people of faith wherever they be.
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Being a vespers psalm and therefore appearing frequently in evening prayer services in the Roman and other rites, classical settings abound. Guerrero, Lassus, Monteverdi, Victoria and others wrote several settings. In the vespers liturgy and the Anglican Compline, up to five psalms were accompanied by the Magnificat or other Marian verses.
Tomas Luis de Victoria‘s setting of this psalm would be appropriate if singers were available. Lauda Ierusalem, Salmo de Vísperas No. 6 (illustrated) is a series of short sections, one for each of the odd verses.
The second half of the psalm, which constitutes the Lectionary selection for this Sunday, directs Jerusalem and Zion to delight in their favoured protection, peace and prosperity. (vs 12-14) The poet then goes on to picture world, weather, wind, and waters activated by a creative divine power.
The evident exceptionalism of the Israelites and their holy city may have been a reality in the minds of writer and target audience at the time. At the time of singing this Sunday, a reasonable interpreter might prefer to see this munificence and favour as bestowed upon people of faith wherever they be.
If relishing that idea of naming each of the myriad stars, a refrain by Isaac Everett in The Emergent Psalter would be an excellent choice: ‘Jehovah with immeasurable wisdom calls each star by name’.
PFAS rolls out several responsive options, frequently just picking the ‘hallelujah’ theme. One (147A alt.) is even a familiar tune by Mozart. Mozart’s music is supposed to soothe the troubled breast: this is a canon in three parts, so it will keep the congregation awake and alert as they learn and enjoy their woven harmony.
Together in Song No 92 covers most of the set verses and, being by John Bell, is reliably tuneful and easy to learn. Although the composition includes a chorus it is presented, and will be sung at South Woden, as a congregational hymn rather than a responsorial psalm with cantor.
Psalms in the South 