Tim Smith

Psalm 18:36-51 chanted in the Sarum Use by Sarah, Margaret, and Charlotte James 
 
Themes: David's address of thanks to Jehovah, an accounting of sufferings undergone and prayers made for assistance, magnificent description of divine interposition in behalf of the sufferer and of the deliverance wrought for him, which deliverance was in consideration of his righteousness, and in accord with God’s equitable proceedings. To Jehovah is ascribed the glory of the victory, which is represented as complete by the destruction of all his opponents, whereafter the heathen submit, and for all these things God is glorified. The title: "To the chief Musician, A Psalm of David, the servant of the Lord, who spake unto the Lord the words of this song in the day that the Lord delivered him from the hand of all his enemies, and from the hand of Saul” (see 2 Samuel 22:1). The strong current of Christian commentators and critics apply this psalm to Christ; and to oppose a whole host of both ancients and moderns would argue great self-confidence. In the main I am of the same mind; and on this principle chiefly I shall proceed to its illustration; still however considering that there are many things in it which concern David, and him only. Drs. Chandler and Delaney have been very successful in their illustration of various passages in it; all the best critics have brought their strongest powers to bear on it; and most of the commentators have labored it with great success; and Bishop Horne has applied the whole of it to Christ. My old Psalter speaks highly in its praise: "This Psalme contenes the sacrement of al chosyn men, the qwilk doand the law of God thurgh the seven fald grace of the Haly Gast fra al temptaciouns, and the pouste of dede and of the devel lesid: this sang thai syng til God; and thankes him and says, I sal luf the Lord, noght a day or twa, bot ever mare: my strength, thurgh quam I am stalworth in thoght." (From the Adam Clarke Commentary, 1831) 
 
In Judaism: This psalm is recited on the seventh day of Passover in some traditions. Verse 32 is recited before Ein Keloheinu, which is a well-known Jewish hymn. On most days, verse 50 is recited at the end of Birkat Hamazon (Blessing of the Food); on all other days, the almost identical verse from 2 Samuel 22 is recited instead. (Wikipedia) 
 
In Christianity: Verse 2b is referenced in Hebrews 2:13: “And again, I will put my trust in him. And again, Behold I and the children which God hath given me.” Verse 49 is cited in Romans 15:9: “And that the Gentiles might glorify God for his mercy; as it is written, For this cause I will confess to thee among the Gentiles, and sing unto thy name.” According to Charles and Emilie Briggs in the International Critical Commentary series, this psalm borrowed material from 2 Samuel 22, which may have been written by David himself, with later additions by multiple editors adapting it for use in public worship. (Wikipedia) 
 
Nine hundred years ago, the Cathedral of Salisbury, England developed a unique form of chant and liturgy known as the “Use of Salisbury,” or “Sarum Use.” Differences from the Roman rite are both melodic (more florid in the Sarum) and textual (Elizabethan English rather than Latin). The best repository of Sarum Use tones is the St. Dunstan's Plainsong Psalter, from which Sarah has sung this psalm. Additional resources on Sarum Use plainsong at https://canticasacra.org. 
 
“Matanaka - Granary, Privy & Schoolhouse,” an unchanged 2008 photo by Karora, is a featured picture on Wikimedia Commons that has been placed by the photographer into the public domain. The caption reads: “This granary, privy and schoolhouse at Matanaka are New Zealand's oldest surviving farm buildings. These buildings are registered Category I historic places with the New Zealand Historic Places Trust.”

Psalm 18:36-51 chanted in the Sarum Use by Sarah, Margaret, and Charlotte James Themes: David's address of thanks to ...

Psalm 18:36-51 – Et dedisti mihi

Psalm 18:21-35 chanted in the Sarum Use by Sarah, Margaret, and Charlotte James 
 
Themes: David's address of thanks to Jehovah, an accounting of sufferings undergone and prayers made for assistance, magnificent description of divine interposition in behalf of the sufferer and of the deliverance wrought for him, which deliverance was in consideration of his righteousness, and in accord with God’s equitable proceedings. To Jehovah is ascribed the glory of the victory, which is represented as complete by the destruction of all his opponents, whereafter the heathen submit, and for all these things God is glorified. The title: "To the chief Musician, A Psalm of David, the servant of the Lord, who spake unto the Lord the words of this song in the day that the Lord delivered him from the hand of all his enemies, and from the hand of Saul” (see 2 Samuel 22:1). The strong current of Christian commentators and critics apply this psalm to Christ; and to oppose a whole host of both ancients and moderns would argue great self-confidence. In the main I am of the same mind; and on this principle chiefly I shall proceed to its illustration; still however considering that there are many things in it which concern David, and him only. Drs. Chandler and Delaney have been very successful in their illustration of various passages in it; all the best critics have brought their strongest powers to bear on it; and most of the commentators have labored it with great success; and Bishop Horne has applied the whole of it to Christ. My old Psalter speaks highly in its praise: "This Psalme contenes the sacrement of al chosyn men, the qwilk doand the law of God thurgh the seven fald grace of the Haly Gast fra al temptaciouns, and the pouste of dede and of the devel lesid: this sang thai syng til God; and thankes him and says, I sal luf the Lord, noght a day or twa, bot ever mare: my strength, thurgh quam I am stalworth in thoght." (From the Adam Clarke Commentary, 1831) 
 
In Judaism: This psalm is recited on the seventh day of Passover in some traditions. Verse 32 is recited before Ein Keloheinu, which is a well-known Jewish hymn. On most days, verse 50 is recited at the end of Birkat Hamazon (Blessing of the Food); on all other days, the almost identical verse from 2 Samuel 22 is recited instead. (Wikipedia) 
 
In Christianity: Verse 2b is referenced in Hebrews 2:13: “And again, I will put my trust in him. And again, Behold I and the children which God hath given me.” Verse 49 is cited in Romans 15:9: “And that the Gentiles might glorify God for his mercy; as it is written, For this cause I will confess to thee among the Gentiles, and sing unto thy name.” According to Charles and Emilie Briggs in the International Critical Commentary series, this psalm borrowed material from 2 Samuel 22, which may have been written by David himself, with later additions by multiple editors adapting it for use in public worship. (Wikipedia) 
 
Nine hundred years ago, the Cathedral of Salisbury, England developed a unique form of chant and liturgy known as the “Use of Salisbury,” or “Sarum Use.” Differences from the Roman rite are both melodic (more florid in the Sarum) and textual (Elizabethan English rather than Latin). The best repository of Sarum Use tones is the St. Dunstan's Plainsong Psalter, from which Sarah has sung this psalm. Additional resources on Sarum Use plainsong at https://canticasacra.org. 
 
“Axis axis (Nagarhole, 2010), an unchanged 2010 photo by Yathin S. Krishnappa, is made available at Wikimedia Commons under the Creative Commons Attribution-Share Alike 3.0 Unported license at: https://creativecommons.org/licenses/by-sa/3.0/deed.en. It was Picture of the Day on 15 March 2015, and Picture of the Year in 2013. The caption reads; Chital (Axis axis) stag attempting to browse on a misty morning in Nagarhole National Park.

Psalm 18:21-35 chanted in the Sarum Use by Sarah, Margaret, and Charlotte James

Themes: David's address of thanks to Jehovah, an accounting of sufferings undergone and prayers made for assistance, magnificent description of divine interposition in behalf of the sufferer and of the deliverance wrought for him, which deliverance was in consideration of his righteousness, and in accord with God’s equitable proceedings.  To Jehovah is ascribed the glory of the victory, which is represented as complete by the destruction of all his opponents, whereafter the heathen submit, and for all these things God is glorified.  The title: "To the chief Musician, A Psalm of David, the servant of the Lord, who spake unto the Lord the words of this song in the day that the Lord delivered him from the hand of all his enemies, and from the hand of Saul” (see 2 Samuel 22:1).  The strong current of Christian commentators and critics apply this psalm to Christ; and to oppose a whole host of both ancients and 

Psalm 18:21-35 – Et retribuet mihi Dominus

Psalm 89:31-51 chanted in the Sarum Use by Sarah James 
 
Themes: The Psalmist shows God's great mercy to the house of David, and the promises which he had given to it of support and perpetuity, vv. 1-37; complains that, notwithstanding these promises, the kingdom of Judah is overthrown, and the royal family nearly ruined, vv. 38-52. 
It is most probable that this psalm was composed during the captivity, as of Ethan and Heman we have already seen something in the introduction to the preceding psalm. The title should probably be translated, - To give instruction to Ethan the Ezrahite. The Chaldee has, "A good instruction, delivered by Abraham, who came from the east country." The Septuagint and Ethiopic have Nathan the Israelite; the Arabic has Nathan the Israelite. (From the Adam Clarke Commentary, 1831) 
 
In Judaism: In some traditions, this is recited during Selichot, which are penitential poems and prayers, especially those said in the period leading up to the High Holidays, and on fast days. Verse 53 is the first verse of Baruch Hashem L'Olam (a paragraph) in Pesukei Dezimra (Morning Prayers) and Baruch Hashem L'Olam (a tapestry of 18 biblical verses, followed by a blessing titled Yiru Eineinu “may our eyes see”) after the Shema (a prayer) in weekday Maariv (Evening Prayer). Verses 16-18 are recited following the Shofar blowing on Rosh Hashanah, which is the Jewish New Year. In the Jewish arrangement this closes the third book of the Psalms. (Wikipedia) 
 
In Christianity: Verse 20 is alluded to in Acts 13:22: “he raised up unto them David to be their king; to whom also he gave testimony, and said, I have found David the son of Jesse, a man after mine own heart, which shall fulfil all my will.” 
 
Nine hundred years ago, the Cathedral of Salisbury, England developed a unique form of chant and liturgy known as the “Use of Salisbury,” or “Sarum Use.” Differences from the Roman rite are both melodic (more florid in the Sarum) and textual (Elizabethan English rather than Latin). The best repository of Sarum Use tones is the St. Dunstan's Plainsong Psalter, from which Sarah has sung this psalm. Additional resources on Sarum Use plainsong at https://canticasacra.org. 
 
“The View from Healthcare inside Shrewsbury Prison,” a cropped 2015 photo by Josephine Beasley, is made available at Wikimedia Commons under the Creative Commons Attribution-Share Alike 4.0 International license at: https://creativecommons.org/licenses/by-sa/4.0/deed.en. “Graffiti and throw-up's in Århus, Denmark,” an unchanged 2008 photo © Villy Fink Isaksen, is a featured picture at Wikimedia Commons, where it is made available under the Creative Commons Attribution 3.0 Unported license at: https://creativecommons.org/licenses/by/3.0/deed.en. “A Trinity of Dragons--Earth, Fire, and Water,” detail ca. 1892 from a piece of Rookwood Pottery is in the public domain, made available by the Cincinnati Art Museum via Wikimedia Commons. “Cristo Negro,” a 2014 work by Ruiz Anglada, is made available by the artist at Wikimedia Commons under the Creative Commons Attribution-Share Alike 3.0 Unported license at: https://creativecommons.org/licenses/by-sa/3.0/deed.en. “Trifacial Trinity,” an oil on canvas (ca. 1750-’70) by an unknown artist of the Cusco School, is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or fewer.

Psalm 89:31-51 chanted in the Sarum Use by Sarah James

Themes: The Psalmist shows God's great mercy to the house of David, and the promises which he had given to it of support and perpetuity, vv. 1-37; complains that, notwithstanding these promises, the kingdom of Judah is overthrown, and the royal family nearly ruined, vv. 38-52.
It is most probable that this psalm was composed during the captivity, as of Ethan and Heman we have already seen something in the introduction to the preceding psalm.  The title should probably be translated, - To give instruction to Ethan the Ezrahite. The Chaldee has, "A good instruction, delivered by Abraham, who came from the east country." The Septuagint and Ethiopic have Nathan the Israelite; the Arabic has Nathan the Israelite.  (From the Adam Clarke Commentary, 1831)

In Judaism: In some traditions, this is recited during Selichot, which are penitential poems and prayers, especially those said in the period leading up to the High Holidays, and on fa

Psalm 89:31-51 – Si autem dereliquerint filii eius

Themes: The Psalmist shows God's great mercy to the house of David, and the promises which he had given to it of support and perpetuity, vv. 1-37; complains that, notwithstanding these promises, the kingdom of Judah is overthrown, and the royal family nearly ruined, vv. 38-52. 
It is most probable that this psalm was composed during the captivity, as of Ethan and Heman we have already seen something in the introduction to the preceding psalm. The title should probably be translated, - To give instruction to Ethan the Ezrahite. The Chaldee has, "A good instruction, delivered by Abraham, who came from the east country." The Septuagint and Ethiopic have Nathan the Israelite; the Arabic has Nathan the Israelite. (From the Adam Clarke Commentary, 1831) 
 
In Judaism: In some traditions, this is recited during Selichot, which are penitential poems and prayers, especially those said in the period leading up to the High Holidays, and on fast days. Verse 53 is the first verse of Baruch Hashem L'Olam (a paragraph) in Pesukei Dezimra (Morning Prayers) and Baruch Hashem L'Olam (a tapestry of 18 biblical verses, followed by a blessing titled Yiru Eineinu “may our eyes see”) after the Shema (a prayer) in weekday Maariv (Evening Prayer). Verses 16-18 are recited following the Shofar blowing on Rosh Hashanah, which is the Jewish New Year. In the Jewish arrangement this closes the third book of the Psalms. (Wikipedia) 
 
In Christianity: Verse 20 is alluded to in Acts 13:22: “he raised up unto them David to be their king; to whom also he gave testimony, and said, I have found David the son of Jesse, a man after mine own heart, which shall fulfil all my will.” 
 
Nine hundred years ago, the Cathedral of Salisbury, England developed a unique form of chant and liturgy known as the “Use of Salisbury,” or “Sarum Use.” Differences from the Roman rite are both melodic (more florid in the Sarum) and textual (Elizabethan English rather than Latin). The best repository of Sarum Use tones is the St. Dunstan's Plainsong Psalter, from which Sarah has sung this psalm. Additional resources on Sarum Use plainsong at https://canticasacra.org. 
 
Public domain artwork, in order of appearance in this video. The first five are in the public domain, from various art museums via Wikimedia Commons: 
 
1. “Amazonian Indians Worshiping the Sun God,” an 1860 oil on canvas by François-Auguste Biard, courtesy of the Pinacoteca do Estado de São Paulo. 
2. “Niño Piro” (young boy of the Piro tribe in Perú), an oil on canvas ca. 1890-1892 by an unidentified South American artist, courtesy of the Smithsonian American Art Museum. 
3. “Piro Indian Chief,” an oil on canvas ca. 1890-1892 by an unidentified South American artist, courtesy of the Smithsonian American Art Museum. 
4. “The Indian Potter: dweller in the mountains of Perú," an 1885 oil on canvas by Francisco Laso, courtesy of the Museo de Arte de Lima – Perú. 
5. “Aymara Indians,” an oil on canvas ca. 1890s by an unknown artist, courtesy of the Smithsonian American Art Museum. 
6. “Quechua Indian of the Andes,” an oil on canvas ca. 1900 by A. Valdez, in a photo by Dorotheum at Wikimedia Commons. 
7. “The Weavers,” photo by Altomart of a 2012 oil on canvas, winner of the BP Portrait Travel Award (2012), made available at Wikimedia Commons under the Creative Commons Attribution-Share Alike 4.0 International license at: https://creativecommons.org/licenses/by-sa/4.0/deed.en.

Themes: The Psalmist shows God's great mercy to the house of David, and the promises which he had given to it of support and perpetuity, vv. 1-37; complains that, notwithstanding these promises, the kingdom of Judah is overthrown, and the royal family nearly ruined, vv. 38-52.
It is most probable that this psalm was composed during the captivity, as of Ethan and Heman we have already seen something in the introduction to the preceding psalm.  The title should probably be translated, - To give instruction to Ethan the Ezrahite. The Chaldee has, "A good instruction, delivered by Abraham, who came from the east country." The Septuagint and Ethiopic have Nathan the Israelite; the Arabic has Nathan the Israelite.  (From the Adam Clarke Commentary, 1831)

In Judaism: In some traditions, this is recited during Selichot, which are penitential poems and prayers, especially those said in the period leading up to the High Holidays, and on fast days.  Verse 53 is the first verse of Baruch Hashem L

Psalm 89:16-30 – Beatus populus qui scit jubilationem

Psalm 118:15-29 chanted in the Sarum Use by Sarah, Margaret, and Charlotte James. 
 
Theme: A general exhortation to praise God for his mercy. The Psalmist, by his own experience, encourages the people to trust in God, and shows them the advantage of it; then describes his enemies, and shows how God enabled him to destroy them. The people rejoice on the account. He speaks again of the help he received from the Lord; and desires admission into the temple, that he may enter and praise the Lord. The gate is opened and he offers praise. The priests acknowledge the hand of the Lord in the deliverance wrought. The Psalmist prays for prosperity. The priest performs his office, blesses the people, and all join in praise. The Psalmist expresses his confidence. Most probably David was the author of this Psalm, though many think it was written after the captivity. It partakes of David's spirit, and everywhere shows the hand of a master. The style is grand and noble; the subject, majestic. (Adam Clarke’s commentary, public domain) 
 
In Judaism: Psalm 118 is the last in the series of the Egyptian hallel. It is read in full on the days of recitation of the hallel. The last ten verses are even read twice. Verse 1 is recited by some following Psalm 126 preceding Birkat Hamazon (Blessing of the Food). Verse 5 is recited prior to the Shofar (Ram’s horn) blowing on Rosh Hashanah (Jewish New Year). Verses 5-9 are part of Tashlikh (atonement ritual). Verse 24 may be a source of the Israeli song Hava Nagila. Verse 25 is part of the long Tachanun (morning and afternoon supplications) recited on Mondays and Thursdays. (Wikipedia) 
 
In Christianity: Parts of this psalm were quoted by Jesus and writers of the New Testament: verse 6 in Hebrews 13:6; verses 22-23 in Matthew 21:42. Jesus said to them (the chief priests and the elders of the people), "Have you never read in the Scriptures: "'The stone that the builders rejected has become the cornerstone; this was the Lord's doing, and it is marvelous in our eyes'?" Opposition and difficulties are seen in this psalm but in the midst of it God will display His salvation. In Matthew 21:9, 23:39; Mark 11:9–10; Luke 13:35, 19:38; and John 12:13 Jesus is welcomed to Jerusalem by crowds quoting verse 26 of this psalm: "Blessed is he who comes in the name of the Lord!" In the Liturgy of the Hours, this psalm is read every Sunday of the first and third weeks, at the office of Sext, which is at noon. (Wikipedia) 
 
Nine hundred years ago, the Cathedral of Salisbury, England developed a unique form of chant and liturgy known as the “Use of Salisbury,” or “Sarum Use.” Differences from the Roman rite are both melodic (more florid in the Sarum) and textual (Elizabethan English rather than Latin). The best repository of Sarum Use tones is the St. Dunstan's Plainsong Psalter, from which Sarah has sung this psalm. Additional resources on Sarum Use plainsong at https://canticasacra.org. 
 
“Glacier Point, Yosemite Valley, United States,” an unchanged 2016 photo by Vashishtha Jogi, and Grégory Lejeune’s 2017 photo of “The Last Sigh of Christ,” an 1840 oil on canvas by Julien Michel Gué, are made available at Wikimedia Commons under the Creative Commons CC0 1.0 Universal Public Domain Dedication at: https://creativecommons.org/publicdomain/zero/1.0/deed.en. “The Elevation of the Host,” an 1890 painting by Jean Béraud, is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 70 years or fewer. “Yosemite Valley Chapel as seen during a starry night on a cool October night,” an unchanged 2020 photo by MichaelDPhotos, is made available at Wikimedia Commons under the Creative Commons Attribution-Share Alike 4.0 International license at: https://creativecommons.org/licenses/by-sa/4.0/deed.en.

Psalm 118:15-29 chanted in the Sarum Use by Sarah, Margaret, and Charlotte James.

Theme: A general exhortation to praise God for his mercy. The Psalmist, by his own experience, encourages the people to trust in God, and shows them the advantage of it; then describes his enemies, and shows how God enabled him to destroy them. The people rejoice on the account. He speaks again of the help he received from the Lord; and desires admission into the temple, that he may enter and praise the Lord. The gate is opened and he offers praise. The priests acknowledge the hand of the Lord in the deliverance wrought. The Psalmist prays for prosperity. The priest performs his office, blesses the people, and all join in praise. The Psalmist expresses his confidence. Most probably David was the author of this Psalm, though many think it was written after the captivity. It partakes of David's spirit, and everywhere shows the hand of a master. The style is grand and noble; the subject, majestic. (Adam Cla

Psalm 118:15-29 – Vox exsultationis et salutis

Psalm 44:1-17 chanted in the Sarum Use by Sarah James 
 
Themes: The Psalmist recounts the mercies of God, how in ancient times God gave them victory over their enemies, points out their present miserable state, asserts that thy have not apostatized, appeals to God for the truth of his assertion, and calls upon the Lord for deliverance once more from their enemies. The title is the same as that in Psalm 42:1-11. The Syriac says it was "A Psalm of the sons of Korah, which the people and Moses sung at Horeb." Like the preceding psalm, this one appears to belong to the time of the captivity. (From the Adam Clarke Commentary, 1831) 
 
In Judaism: Verse 9 is found in the repetition of the Amidah (the Standing Prayer) during Rosh Hashanah (the Jewish New Year). Parts of verses 14 and 23 form a verse found in the long Tachanun (part of the morning and afternoon prayers) recited on Mondays and Thursdays, and verse 27 is the sixth verse of Hoshia Et Amecha (another group of prayers) in Pesukei Dezimra, which is the morning service. (Wikipedia) 
 
In Christianity: St. Paul quoted Psalm 44:22 in the Epistle to the Romans 8:36: “As it is written: "For your sake we face death all day long; we are considered as sheep to be slaughtered." The context of Paul’s quotation is that nothing can separate us from God’s love. 
 
Nine hundred years ago, the Cathedral of Salisbury, England developed a unique form of chant and liturgy known as the “Use of Salisbury,” or “Sarum Use.” Differences from the Roman rite are both melodic (more florid in the Sarum) and textual (Elizabethan English rather than Latin). The best repository of Sarum Use tones is the St. Dunstan's Plainsong Psalter, from which Sarah has sung this psalm. Additional resources on Sarum Use plainsong at https://canticasacra.org. 
 
“Joshua Commanding the Sun to Stand Still upon Gibeon,” an 1816 oil on canvas by John Martin, is made available at Wikimedia Commons, courtesy of the Paul Mellon Fund, as being in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or fewer.

Psalm 44:1-17 chanted in the Sarum Use by Sarah James

Themes: The Psalmist recounts the mercies of God, how in ancient times God gave them victory over their enemies, points out their present miserable state, asserts that thy have not apostatized, appeals to God for the truth of his assertion, and calls upon the Lord for deliverance once more from their enemies. The title is the same as that in Psalm 42:1-11. The Syriac says it was "A Psalm of the sons of Korah, which the people and Moses sung at Horeb." Like the preceding psalm, this one appears to belong to the time of the captivity.  (From the Adam Clarke Commentary, 1831)

In Judaism: Verse 9 is found in the repetition of the Amidah (the Standing Prayer) during Rosh Hashanah (the Jewish New Year).  Parts of verses 14 and 23 form a verse found in the long Tachanun (part of the morning and afternoon prayers) recited on Mondays and Thursdays, and verse 27 is the sixth verse of Hoshia Et Amecha (another group of prayers) in Pesukei De

Psalm 44:1-17 – Deus, auribus nostris audivimus

Psalm 73:14-28 chanted in the Sarum Use by Sarah James 
 
Themes: The Psalmist speaks of God's goodness to his people, shows how much he has stumbled at the prosperity of the wicked, describes their state, details the process of the temptation and the pain that he suffered in consequence, shows how he was delivered, reveals how the dismal reverse of the state of the once prosperous ungodly man in consequence of his own false views can be corrected, places his own confidence in God, and affirms the good consequences of that trust. This is the commencement of the Third Book of the Psalter. The title in the Hebrew is מזמור לאסף mizmor leasaph; "A Psalm of Asaph:" and it is likely that this Asaph was the composer of it; that he lived under the Babylonian captivity; and that he published this psalm to console the Israelites under bondage, who were greatly tried to find themselves in such outward distress and misery, while a people much more wicked and corrupt than they were in great prosperity and held them in bondage. (From the Adam Clarke Commentary, 1831) 
 
In the opinion of Walter Brueggemann (1984), "in the canonical structuring of the Psalter, Psalm 73 stands at its center in a crucial role. Even if the psalm is not literarily in the center, I propose that it is center theologically as well as canonically.” It was the favorite psalm of Martin Buber, who said about it: "What is it that so draws me to this poem that is pieced together out of description, report and confession, and draws me ever more strongly the older I become? I think it is this, that here a person reports how he attained to the true sense of his life experience and that this sense touches directly on the eternal." (Wikipedia) 
 
Nine hundred years ago, the Cathedral of Salisbury, England developed a unique form of chant and liturgy known as the “Use of Salisbury,” or “Sarum Use.” Differences from the Roman rite are both melodic (more florid in the Sarum) and textual (Elizabethan English rather than Latin). The best repository of Sarum Use tones is the St. Dunstan's Plainsong Psalter, from which Sarah has sung this psalm. Additional resources on Sarum Use plainsong at https://canticasacra.org. 
 
 “Saul,” an 1899 oil on canvas by Jozef Israëlis, and “Pandemonium,” an 1841 painting by John Martin are in the public domain in their respective countries of origin and other countries and areas where the copyright term is the author's life plus 100 years or fewer. “Beautiful evening sun view (at Imagoura of Kasumi Coast in Kami, Hyogo prefecture, Japan),” is an unchanged 2010 photo by 663highland at Wikimedia Commons where it is a Quality image, made available under the Creative Commons Attribution 2.5 Generic license at: https://creativecommons.org/licenses/by/2.5/deed.en.

Psalm 73:14-28 chanted in the Sarum Use by Sarah James

Themes: The Psalmist speaks of God's goodness to his people, shows how much he has stumbled at the prosperity of the wicked, describes their state, details the process of the temptation and the pain that he suffered in consequence, shows how he was delivered, reveals how the dismal reverse of the state of the once prosperous ungodly man in consequence of his own false views can be corrected, places  his own confidence in God, and affirms the good consequences of that trust.  This is the commencement of the Third Book of the Psalter.  The title in the Hebrew is מזמור לאסף mizmor leasaph; "A Psalm of Asaph:" and it is likely that this Asaph was the composer of it; that he lived under the Babylonian captivity; and that he published this psalm to console the Israelites under bondage, who were greatly tried to find themselves in such outward distress and misery, while a people much more wicked and corrupt than they were in great prospe

Psalm 73:14-28 – Et fui flagellatus tota die

Psalm 102:1-14 chanted in the Sarum Use by Sarah James 
 
Themes: The complaint and miserable state of the poor Babylonian captives, the expectation of deliverance, the conversion of the heathen, the termination of the captivity, the great frailty of man, the unchangeableness of God and the permanence of the elect. The Hebrew and nearly all the versions give the following title to this psalm: A prayer of the afflicted, when he is overwhelmed and pours out his sighing before the Lord. There seems to be little doubt that this is the prayer of the captives in Babylon, when, towards the end of the captivity, they were almost worn out with oppression, cruelty, and distress. The psalm has been attributed to Daniel, to Jeremiah, to Nehemiah, or to some of the other prophets who flourished during the time of the captivity. (From the Adam Clarke Commentary, 1831) 
 
In Judaism: Psalm 102 is one of 15 that are sung during the Yom Kippur (New Year’s) service by Sephardi Jews. Verse 1 is recited by the sheaves of barley in Perek Shirah (an ancient text). Verse 14 is said in Selichot, which is a compendium of penitential poems and prayers, especially those said in the period leading up to the High Holidays, and on fast days. Sephardi Jews recite verse 14 after the prayer of Ein Keloheinu (a well-known hymn) in the morning service. Psalm 102 is said in times of community crisis and as a prayer for a childless woman to give birth. In the Siddur Sfas Emes, this psalm prayed "for the well-being of a person who is ill.” (Wikipedia) 
 
In Christianity: Verses 25-27 are quoted in Hebrews 1:10-12 as an argument that Jesus is superior to the angels and making Psalm 102 in some sense both a prayer to, and in praise of, Jesus: “You, Lord, in the beginning laid the foundation of the earth, and the heavens are the work of your hands. They will perish, but you remain; and they will all grow old like a garment; like a cloak you will fold them up, and they will be changed. But you are the same, and your years will not fail.” 
 
Nine hundred years ago, the Cathedral of Salisbury, England developed a unique form of chant and liturgy known as the “Use of Salisbury,” or “Sarum Use.” Differences from the Roman rite are both melodic (more florid in the Sarum) and textual (Elizabethan English rather than Latin). The best repository of Sarum Use tones is the St. Dunstan's Plainsong Psalter, from which Sarah has sung this psalm. Additional resources on Sarum Use plainsong at https://canticasacra.org. 
 
Graphics: “Diri Baba mausoleum, Qobustan, Azerbaijan,” an unchanged 2016 photo by Diego Delso, is a Quality image at Wikimedia Commons where it is made available under the Creative Commons Attribution-Share Alike 4.0 International license at: https://creativecommons.org/licenses/by-sa/4.0/deed.en.

Psalm 102:1-14 chanted in the Sarum Use by Sarah James

Themes: The complaint and miserable state of the poor Babylonian captives, the expectation of deliverance, the conversion of the heathen, the termination of the captivity, the great frailty of man, the unchangeableness of God and the permanence of the elect.  The Hebrew and nearly all the versions give the following title to this psalm: A prayer of the afflicted, when he is overwhelmed and pours out his sighing before the Lord.  There seems to be little doubt that this is the prayer of the captives in Babylon, when, towards the end of the captivity, they were almost worn out with oppression, cruelty, and distress. The psalm has been attributed to Daniel, to Jeremiah, to Nehemiah, or to some of the other prophets who flourished during the time of the captivity.  (From the Adam Clarke Commentary, 1831)

In Judaism: Psalm 102 is one of 15 that are sung during the Yom Kippur (New Year’s) service by Sephardi Jews.  Verse 1 is recited b

Psalm 102:1-14 – Domine, exaudi orationem meam

Psalm 102:15-28 chanted in the Sarum Use by Sarah James 
 
Themes: The complaint and miserable state of the poor Babylonian captives, the expectation of deliverance, the conversion of the heathen, the termination of the captivity, the great frailty of man, the unchangeableness of God and the permanence of the elect. The Hebrew, and nearly all the versions, give the following title to this psalm: A prayer of the afflicted, when he is overwhelmed, and pours out his sighing before the Lord. There seems to be little doubt that this is the prayer of the captives in Babylon, when, towards the end of the captivity, they were almost worn out with oppression, cruelty, and distress. The psalm has been attributed to Daniel, to Jeremiah, to Nehemiah, or to some of the other prophets who flourished during the time of the captivity. The author of the Epistle to the Hebrews has applied verses 25-27 to our Lord, in the perpetuity of his kingdom. (From the Adam Clarke Commentary, 1831) 
 
In Judaism: Psalm 102 is one of 15 that are sung during the Yom Kippur (New Year’s) service by Sephardi Jews. Verse 1 is recited by the sheaves of barley in Perek Shirah (an ancient text). Verse 14 is said in Selichot, which is a compendium of penitential poems and prayers, especially those said in the period leading up to the High Holidays, and on fast days. Sephardi Jews recite verse 14 after the prayer of Ein Keloheinu (a well-known hymn) in the morning service. Psalm 102 is said in times of community crisis and as a prayer for a childless woman to give birth. In the Siddur Sfas Emes, this psalm prayed "for the well-being of a person who is ill.” (Wikipedia) 
 
In Christianity: Verses 25-27 are quoted in Hebrews 1:10-12 as an argument that Jesus is superior to the angels and making Psalm 102 in some sense both a prayer to and in praise of Jesus: “You, Lord, in the beginning laid the foundation of the earth, and the heavens are the work of your hands. They will perish, but you remain; and they will all grow old like a garment; like a cloak you will fold them up, and they will be changed. But you are the same, and your years will not fail.” 
 
Nine hundred years ago, the Cathedral of Salisbury, England developed a unique form of chant and liturgy known as the “Use of Salisbury,” or “Sarum Use.” Differences from the Roman rite are both melodic (more florid in the Sarum) and textual (Elizabethan English rather than Latin). The best repository of Sarum Use tones is the St. Dunstan's Plainsong Psalter, from which Sarah has sung this psalm. Additional resources on Sarum Use plainsong at https://canticasacra.org. 
 
This video uses two unchanged 2018 photos by Roman Eisele of 16th century Jewish cemeteries in Germany: the first in Waibstadt, and the second near Heinsheim, Bad Rappenau. Both are featured pictures and Quality Images at Wikimedia Commons, where they are made available under the Creative Commons Attribution-Share Alike 4.0 International license at: https://creativecommons.org/licenses/by-sa/4.0/deed.en.

Psalm 102:15-28 chanted in the Sarum Use by Sarah James

Themes: The complaint and miserable state of the poor Babylonian captives, the expectation of deliverance, the conversion of the heathen, the termination of the captivity, the great frailty of man, the unchangeableness of God and the permanence of the elect.  The Hebrew, and nearly all the versions, give the following title to this psalm: A prayer of the afflicted, when he is overwhelmed, and pours out his sighing before the Lord.  There seems to be little doubt that this is the prayer of the captives in Babylon, when, towards the end of the captivity, they were almost worn out with oppression, cruelty, and distress. The psalm has been attributed to Daniel, to Jeremiah, to Nehemiah, or to some of the other prophets who flourished during the time of the captivity.  The author of the Epistle to the Hebrews has applied verses 25-27 to our Lord, in the perpetuity of his kingdom.  (From the Adam Clarke Commentary, 1831)

In Judaism: P

Psalm 102:15-28 – Et timebunt gentes

Psalm 68:1-18 chanted in the Sarum Use by Sarah James 
 
Themes: The Psalmist calls upon God to arise, bless his people, and scatter his enemies; exhorts them to praise him for his greatness, tenderness, compassion, and judgments; describes the grandeur of his march when he went forth in the redemption of his people; how he dispensed his blessings; what he will still continue to do in their behalf; the ejects produced by the manifestation of God's majesty; he is praised for has goodness; for his judgments; he tells in what manner the divine worship was conducted; how God is to be honored; all are invited to sing his praises, and extol his greatness. In the title of this psalm there is nothing particular to be remarked. It is probable that this psalm, or a part of it at least, might have been composed by Moses, to be recited when the Israelites journeyed. On the other hand, David may be the author, having written it to sing the ceremony of transporting the ark from Kirjath-jearim, to Jerusalem; or from the house of Obed-edom to the tabernacle erected at Sion. This is the most difficult psalm to interpret in the whole psalter; and I cannot help but cite the opinion of Simon De Muis: "In this Psalm there are as many precipices and labyrinths as there are verses or words. It may not be improperly termed, the torture of critics, and the reproach of commentators." To attempt anything new on it would be dangerous; and to say what has been so often said would be unsatisfactory. I am truly afraid to fall over one of those precipices, or be endlessly entangled and lost in one of these labyrinths. There are customs here referred to which I do not fully understand; there are words whose meaning I cannot, to my own satisfaction, ascertain; and allusions which are to me inexplicable. Yet of the composition itself I have the highest opinion: it is sublime beyond all comparison; it is constructed with an art truly admirable; it possesses all the dignity of the sacred language; none but David could have composed it; and, at this lapse of time, it would require no small influence of the Spirit that was upon him, to give its true interpretation. (From the Adam Clarke Commentary, 1831) 
 
In Judaism: Psalm 68 is recited on Shavuot (the Feast of Weeks) in some traditions. Verses 5-6 are part of the prayers recited following Motzei Shabbat (the time in the evening immediately following Shabbat, that is Saturday night) Maariv (Evening Prayer). Verse 20 is part of Uva Letzion (one of the closing prayers of the morning service). Verses 35-36 are the fourth and fifth verses of V'hu Rachum (a group of praises) in Pesukei Dezimra, which is the morning prayer. (Wikipedia) 
 
In Christianity: Verse 18 is quoted in Ephesians 4:8: “Therefore He says: ‘When He ascended on high // He led captivity captive // And gave gifts to men’.” In the psalm, the ark ascended up Mount Zion; in Ephesians, it is taken as pointing to Christ who ascended into heaven bringing the elect with him. In the Liturgy of the Hours, Psalm 68 is recited or sung at the Reading Office on Tuesday of the third week. It is also read on the 22nd Sunday of the ordinary time of year C in the triennial cycle of the Sunday masses. (Wikipedia) 
 
Nine hundred years ago, the Cathedral of Salisbury, England developed a unique form of chant and liturgy known as the “Use of Salisbury,” or “Sarum Use.” Differences from the Roman rite are both melodic (more florid in the Sarum) and textual (Elizabethan English rather than Latin). The best repository of Sarum Use tones is the St. Dunstan's Plainsong Psalter, from which Sarah has sung this psalm. Additional resources on Sarum Use plainsong at https://canticasacra.org. 
 
Graphics: “Betatakin Ruins at Navajo National Monument,” an unchanged 2013 photo by Jarek Tuszyński and “White House Ruin at Canyon de Chelly National Monument, Arizona,” an unchanged 2006 photo by Andreas F. Borchert are made available on Wikimedia Commons under the Creative Commons Attribution 4.0 International license at: https://creativecommons.org/licenses/by/4.0/deed.en; “House on Fire Ruin at Mule Canyon, near Comb Ridge, Utah,” an unchanged 2009 photo by Snowpeak, is made available on Wikimedia Commons under the Creative Commons Attribution 2.0 Generic license at: https://creativecommons.org/licenses/by/2.0/deed.en.

Psalm 68:1-18 chanted in the Sarum Use by Sarah James

Themes: The Psalmist calls upon God to arise, bless his people, and scatter his enemies; exhorts them to praise him for his greatness, tenderness, compassion, and judgments; describes the grandeur of his march when he went forth in the redemption of his people; how he dispensed his blessings; what he will still continue to do in their behalf; the ejects produced by the manifestation of God's majesty; he is praised for has goodness; for his judgments; he tells in what manner the divine worship was conducted; how God is to be honored; all are invited to sing his praises, and extol his greatness.  In the title of this psalm there is nothing particular to be remarked.  It is probable that this psalm, or a part of it at least, might have been composed by Moses, to be recited when the Israelites journeyed.  On the other hand, David may be the author, having written it to sing the ceremony of transporting the ark from Kirjath-jearim, to J

Psalm 68:1-18 – Exsurgat Deus

Psalm 106:24-46 chanted in the Sarum Use by Sarah James 
 
Themes: God is praised for his manifold mercies. The prophet prays for himself, recapitulates the history of the Hebrew people and God's mercies toward them, their rebellions, judgments and the afflictions that their transgressions brought upon them, God's mercy notwithstanding, and prayer for their restoration. Just as a part of the preceding psalm is found in 1 Chronicles 16, so the first and two last verses of the present psalm are found in the same place, (I Chronicles 16:34-36). And yet it is supposed by eminent commentators to be a prayer of the captives in Babylon, who acknowledge the mercies of God, confess their own sins, and those of their forefathers, and implore the Lord to gather them from among the heathen, and restore them to their own country. None of the versions except the Syriac has any title, except Hallelujah, Praise ye the Lord, the word with which the original commences. The Syriac gives us a sort of table of its contents; or rather shows us the subjects to which it may be applied, and the uses we should make of it. After stating that it has no title, it says, "It calls upon men to observe the Divine precepts, and teaches us that the more the Jews transgressed, the more we should fear. That we should not talk together in the church, nor ever contend with our brethren on any account; and especially when we assist in the celebration of the divine mysteries and in prayer: and that when we sin we should repent." (From the Adam Clarke Commentary, 1831) 
 
In Judaism: This psalm is recited on the second day of Passover in some traditions, and verse 2 is the final verse of Anim Zemirot (a holiday liturgical poem in others). Verse 45 is found in the Mussaf Amidah (Standing Prayer) on Rosh Hashanah (the Jewish New Year). Verse 47 is the third verse of the long Tachanun recited in the morning and evening prayers on Mondays and Thursdays, and is also a part of Baruch Hashem L'Olam during Maariv, which is the night prayer. (Wikipedia) 
 
In Christianity: In the first chapter of the gospel of Luke, Zacharias recites three verses from Psalm 106 after the birth of his son, John the Baptist: “That we should be saved from our enemies, and from the hand of all that hate us” (Ps. 106:10); “To perform the mercy promised to our fathers, and to remember his holy covenant” (Ps. 106:45); and “Blessed be the Lord God of Israel; for he hath visited and redeemed his people” (Psalm 106:46). 
 
Nine hundred years ago, the Cathedral of Salisbury, England developed a unique form of chant and liturgy known as the “Use of Salisbury,” or “Sarum Use.” Differences from the Roman rite are both melodic (more florid in the Sarum) and textual (Elizabethan English rather than Latin). The best repository of Sarum Use tones is the St. Dunstan's Plainsong Psalter, from which Sarah has sung this psalm. Additional resources on Sarum Use plainsong at https://canticasacra.org. 
 
“Moses on Mount Sinai,” an oil on canvas (1895-1900) by Jean-Léon Gérôme is made available at Wikimedia Commons where it is represented as a two-dimensional work of art that is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or fewer.

Psalm 106:24-46 chanted in the Sarum Use by Sarah James

Themes: God is praised for his manifold mercies. The prophet prays for himself, recapitulates the history of the Hebrew people and God's mercies toward them, their rebellions, judgments and the afflictions that their transgressions brought upon them, God's mercy notwithstanding, and prayer for their restoration.  Just as a part of the preceding psalm is found in 1 Chronicles 16, so the first and two last verses of the present psalm are found in the same place, (I Chronicles 16:34-36).  And yet it is supposed by eminent commentators to be a prayer of the captives in Babylon, who acknowledge the mercies of God, confess their own sins, and those of their forefathers, and implore the Lord to gather them from among the heathen, and restore them to their own country.  None of the versions except the Syriac has any title, except Hallelujah, Praise ye the Lord, the word with which the original commences.  The Syriac gives us a sort of ta

Psalm 106:24-46  – Et pro nihilo habuerunt terram desiderabilem

Psalm 44:18-26 chanted in the Sarum Use by Sarah James 
 
Themes: The Psalmist recounts the mercies of God, how in ancient times God gave them victory over their enemies, points out their present miserable state, asserts that thy have not apostatized, appeals to God for the truth of his assertion, and calls upon the Lord for deliverance once more from their enemies. The title is the same as that in Psalm 42:1-11. The Syriac says it was "A Psalm of the sons of Korah, which the people and Moses sung at Horeb." Like the preceding psalm, this one appears to belong to the time of the captivity. (From the Adam Clarke Commentary, 1831) 
 
In Judaism: Verse 9 is found in the repetition of the Amidah (the Standing Prayer) during Rosh Hashanah (the Jewish New Year). Parts of verses 14 and 23 form a verse found in the long Tachanun (part of the morning and afternoon prayers) recited on Mondays and Thursdays, and verse 27 is the sixth verse of Hoshia Et Amecha (another group of prayers) in Pesukei Dezimra, which is the morning service. (Wikipedia) 
 
In Christianity: St. Paul quoted Psalm 44:22 in the Epistle to the Romans 8:36: “As it is written: "For your sake we face death all day long; we are considered as sheep to be slaughtered." The context of Paul’s quotation is that nothing can separate us from God’s love. 
 
Nine hundred years ago, the Cathedral of Salisbury, England developed a unique form of chant and liturgy known as the “Use of Salisbury,” or “Sarum Use.” Differences from the Roman rite are both melodic (more florid in the Sarum) and textual (Elizabethan English rather than Latin). The best repository of Sarum Use tones is the St. Dunstan's Plainsong Psalter, from which Sarah has sung this psalm. Additional resources on Sarum Use plainsong at https://canticasacra.org. 
 
“The Christian Martyrs’ Last Prayer,” an oil on canvas (completed in 1883) by Jean-Léon Gérôme, is made available at Wikimedia Commons, courtesy of the Walters Art Museum under the Creative Commons Attribution-Share Alike 3.0 Unported License and the GNU Free Documentation License at: https://creativecommons.org/licenses/by-sa/3.0/deed.en.

Psalm 44:18-26 chanted in the Sarum Use by Sarah James

Themes: The Psalmist recounts the mercies of God, how in ancient times God gave them victory over their enemies, points out their present miserable state, asserts that thy have not apostatized, appeals to God for the truth of his assertion, and calls upon the Lord for deliverance once more from their enemies.  The title is the same as that in Psalm 42:1-11. The Syriac says it was "A Psalm of the sons of Korah, which the people and Moses sung at Horeb."  Like the preceding psalm, this one appears to belong to the time of the captivity.  (From the Adam Clarke Commentary, 1831)

In Judaism: Verse 9 is found in the repetition of the Amidah (the Standing Prayer) during Rosh Hashanah (the Jewish New Year). Parts of verses 14 and 23 form a verse found in the long Tachanun (part of the morning and afternoon prayers) recited on Mondays and Thursdays, and verse 27 is the sixth verse of Hoshia Et Amecha (another group of prayers) in Pesukei 

Psalm 44:18-26 – Hæc omnia venerunt

Psalm 31:17-27 chanted in the Sarum Use by Sarah James 
 
Themes: The Psalmist, with strong confidence in God in a time of distress, prays earnestly for deliverance, expresses his abhorrence of evil, gratefully mentions former interpositions of God, continues to detail the miseries of his case, points out the privileges of them that fear God, shows that God had heard his prayers notwithstanding he had given himself over for lost, calls on the saints to love God and to have confidence in him because he preserves the faithful and plentifully rewards the proud doer. This psalm contains no notes of time or place, to help us to ascertain when, where, or on what account it was written. Nor have we any certain evidence relative to the author: it might have been written by David during his persecution by Saul. Some think Jeremiah to have been the author: the thirteenth verse begins exactly with the same words as Jeremiah 20:10. There are several other apparent references to passages in the book of Jeremiah. (From the Adam Clarke Commentary, 1831) 
 
In Judaism: Verse 6 is part of Baruch Adonai L'Olam in the evening prayer, and also of the Bedtime Shema (prayer). The phrase be-yado afkid ruchi ("Into his hand I commit my spirit") starts the last verse of Adon Olam. Verses 15 and 17 are included in the preliminary morning prayers. Verse 20 is said after learning Mishnayos (first major work of rabbinic literature) for a deceased person. In the Siddur Sfas Emes, this psalm is said as a prayer for the well-being of an ailing person. (Wikipedia) 
 
In Christianity: Luke 23:46 records Psalm 31:6 as Jesus’ last spoken words from the cross: “And when Jesus had cried with a loud voice, he said, Father, into thy hands I commend my spirit: and having said thus, he gave up the ghost.” Saint Stephen, who was the first Christian to die for his faith, prayed similarly: “While they were stoning him, Stephen prayed, ‘Lord Jesus, receive my spirit.’ Then he fell on his knees and cried out, ‘Lord, do not hold this sin against them.’ When he had said this, he fell asleep.” In the Catholic Church, the first line of Psalm 31, "In te Domine speravi" (I thee O Lord have I trusted), becomes the final line of the Te Deum (a canticle at the end of Matins, which is sung before sunrise). Verses 15 and 16, "Illumina faciem tuam" (Make thy face to shine) is a communion verse for Septuagesima, which is the ninth Sunday before Easter. (Wikipedia) 
 
Nine hundred years ago, the Cathedral of Salisbury, England developed a unique form of chant and liturgy known as the “Use of Salisbury,” or “Sarum Use.” Differences from the Roman rite are both melodic (more florid in the Sarum) and textual (Elizabethan English rather than Latin). The best repository of Sarum Use tones is the St. Dunstan's Plainsong Psalter, from which Sarah has sung this psalm. Additional resources on Sarum Use plainsong at https://canticasacra.org. 
 
“Cotopaxi,” an oil on canvas (1855) by Frederic Edwin Church, is made available by the Smithsonian American Art Museum at Wikimedia Commons, where it is in the public domain because the copyright term is the author's life plus 100 years or fewer.

Psalm 31:17-27 chanted in the Sarum Use by Sarah James

Themes: The Psalmist, with strong confidence in God in a time of distress, prays earnestly for deliverance, expresses his abhorrence of evil, gratefully mentions former interpositions of God, continues to detail the miseries of his case, points out the privileges of them that fear God, shows that God had heard his prayers notwithstanding he had given himself over for lost, calls on the saints to love God and to have confidence in him because he preserves the faithful and plentifully rewards the proud doer.  This psalm contains no notes of time or place, to help us to ascertain when, where, or on what account it was written. Nor have we any certain evidence relative to the author: it might have been written by David during his persecution by Saul.  Some think Jeremiah to have been the author: the thirteenth verse begins exactly with the same words as Jeremiah 20:10. There are several other apparent references to passages in the boo

Psalm 31:17-27 – In manibus tuis sortes meæ

Psalm 31:1-16 chanted in the Sarum Use by Sarah James 
 
Themes: The Psalmist, with strong confidence in God in a time of distress, prays earnestly for deliverance, expresses his abhorrence of evil, gratefully mentions former interpositions of God, continues to detail the miseries of his case, points out the privileges of them that fear God, shows that God had heard his prayers notwithstanding he had given himself over for lost, calls on the saints to love God and to have confidence in him because he preserves the faithful and plentifully rewards the proud doer. This psalm contains no notes of time or place, to help us to ascertain when, where, or on what account it was written. Nor have we any certain evidence relative to the author: it might have been written by David during his persecution by Saul. Some think Jeremiah to have been the author: the thirteenth verse begins exactly with the same words as Jeremiah 20:10. There are several other apparent references to passages in the book of Jeremiah. (From the Adam Clarke Commentary, 1831) 
 
In Judaism: Verse 6 is part of Baruch Adonai L'Olam in the evening prayer, and also of the Bedtime Shema (prayer). The phrase be-yado afkid ruchi ("Into his hand I commit my spirit") starts the last verse of Adon Olam. Verses 15 and 17 are included in the preliminary morning prayers. Verse 20 is said after learning Mishnayos (first major work of rabbinic literature) for a deceased person. In the Siddur Sfas Emes, this psalm is said as a prayer for the well-being of an ailing person. (Wikipedia) 
 
In Christianity: Luke 23:46 records Psalm 31:6 as Jesus’ last spoken words from the cross: “And when Jesus had cried with a loud voice, he said, Father, into thy hands I commend my spirit: and having said thus, he gave up the ghost.” Saint Stephen, who was the first Christian to die for his faith, prayed similarly: “While they were stoning him, Stephen prayed, ‘Lord Jesus, receive my spirit.’ Then he fell on his knees and cried out, ‘Lord, do not hold this sin against them.’ When he had said this, he fell asleep.” In the Catholic Church, the first line of Psalm 31, "In te Domine speravi" (I thee O Lord have I trusted), becomes the final line of the Te Deum (a canticle at the end of Matins, which is sung before sunrise). Verses 15 and 16, "Illumina faciem tuam" (Make thy face to shine) is a communion verse for Septuagesima, which is the ninth Sunday before Easter. (Wikipedia) 
 
Nine hundred years ago, the Cathedral of Salisbury, England developed a unique form of chant and liturgy known as the “Use of Salisbury,” or “Sarum Use.” Differences from the Roman rite are both melodic (more florid in the Sarum) and textual (Elizabethan English rather than Latin). The best repository of Sarum Use tones is the St. Dunstan's Plainsong Psalter, from which Sarah has sung this psalm. Additional resources on Sarum Use plainsong at https://canticasacra.org. 
 
“The Heart of the Andes,” an oil on canvas (1859) by Frederic Edwin Church, is featured picture at Wikimedia Commons at the bequest of Margaret E. Dows, where it is in the public domain because the copyright term is the author's life plus 100 years or fewer.

Psalm 31:1-16 chanted in the Sarum Use by Sarah James

Themes: The Psalmist, with strong confidence in God in a time of distress, prays earnestly for deliverance, expresses his abhorrence of evil, gratefully mentions former interpositions of God, continues to detail the miseries of his case, points out the privileges of them that fear God, shows that God had heard his prayers notwithstanding he had given himself over for lost, calls on the saints to love God and to have confidence in him because he preserves the faithful and plentifully rewards the proud doer.  This psalm contains no notes of time or place, to help us to ascertain when, where, or on what account it was written. Nor have we any certain evidence relative to the author: it might have been written by David during his persecution by Saul.  Some think Jeremiah to have been the author: the thirteenth verse begins exactly with the same words as Jeremiah 20:10. There are several other apparent references to passages in the book

Psalm 31:1-16 – In te, Domine, speravi

Psalm 35:15-28 chanted in the Sarum Use by Sarah James 
 
Themes: The Psalmist, in great straits, prays for his personal safety and for the confusion of his enemies, expresses his confidence in God, mentions his kindness to those who had rewarded him evil for his good, appeals to God against them, prays for those who befriended him; and praises God for his goodness. There is nothing in the title worthy of remark. The psalm is simply attributed to David, and was most probably of his composing; and refers to the time of his persecution by Saul and his courtiers. The Syriac says it was composed when the Idumeans attacked David. The Arabic says it is a prophecy concerning the incarnation, and concerning the things practiced against Jeremiah by the people. Some think that our Lord's sufferings are particularly pointed out here; and Bishop Horsley thinks that verses 11-16 apply more literally and exactly to Christ than to any other whomsoever. (From the Adam Clarke Commentary, 1831) 
 
In Judaism: Verse 10 is part of Nishmat, which is recited in the morning prayer, and during the Passover seder in some traditions. (Wikipedia) 
 
In Christianity: Jesus quoted Psalm 35:19b is quoted in John 15:25: “But this cometh to pass, that the word might be fulfilled that is written in their law, They hated me without a cause.” 
 
In History: The first prayer in the American Congress (early Sept. of 1774) quoted from the first verse of Psalm 35: “Contend, Lord, with those who contend with me; fight against those who fight against me.” 
 
Nine hundred years ago, the Cathedral of Salisbury, England developed a unique form of chant and liturgy known as the “Use of Salisbury,” or “Sarum Use.” Differences from the Roman rite are both melodic (more florid in the Sarum) and textual (Elizabethan English rather than Latin). The best repository of Sarum Use tones is the St. Dunstan's Plainsong Psalter, from which Sarah has sung this psalm. Additional resources on Sarum Use plainsong at https://canticasacra.org. 
 
“Scenes from the Passion of Christ,” an oil on oak wood (1470-1471) by Hans Memling, is a faithful photographic reproduction of a two-dimensional work of art that is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or fewer.

Psalm 35:15-28 chanted in the Sarum Use by Sarah James

Themes: The Psalmist, in great straits, prays for his personal safety and for the confusion of his enemies, expresses his confidence in God, mentions his kindness to those who had rewarded him evil for his good, appeals to God against them, prays for those who befriended him; and praises God for his goodness.  There is nothing in the title worthy of remark. The psalm is simply attributed to David, and was most probably of his composing; and refers to the time of his persecution by Saul and his courtiers. The Syriac says it was composed when the Idumeans attacked David. The Arabic says it is a prophecy concerning the incarnation, and concerning the things practiced against Jeremiah by the people.  Some think that our Lord's sufferings are particularly pointed out here; and Bishop Horsley thinks that verses 11-16 apply more literally and exactly to Christ than to any other whomsoever.  (From the Adam Clarke Commentary, 1831)

In Jud

Psalm 35:15-28 – Et adversum me lætati sunt

Psalm 109:20-30 chanted in the Sarum Use by Sarah James 
 
Themes: The Psalmist speaks against his inveterate enemies, prays against them and announces God's judgments, the reason on which this is grounded, and prays for his own safety and salvation, using many arguments to invoke God’s mercy upon him. The title of this psalm, To the chief Musician, A Psalm of David, has already often occurred, and on it the versions offer nothing new. The Syriac says it is "a Psalm of David, when the people, without his knowledge, made Absalom king; on which account he was slain.” (From the Adam Clarke Commentary, 1831) 
 
In Judaism: Psalm 109 is recited on the day of Parshat Zachor, which are Shabbat days on which special events or holidays are commemorated. (Wikipedia) 
 
In Christianity: That Psalm 109 foretells the passion of Christ and contains a prophecy against Judas and the enemies of our Lord, is evident from Acts 1:20. Probably, in its primary meaning, (for such a meaning it certainly has), it may refer to Ahithophel [of David’s day]. The imprecations in it should be rendered in the future tense, as they are mere prophetic denunciations of God's displeasure against sinners. Taken in this light, it cannot be a stumbling-block to any person. God has a right to denounce those judgments which he will inflict on the workers of iniquity. But perhaps the whole may be the execrations of David's enemies against himself. Ahithophel, who gave evil counsel against David, and being frustrated hanged himself, was no mean prototype of Judas the traitor; it was probably on this account that St. Peter, Acts 1:20 [“For,” said Peter, “it is written in the Book of Psalms: “‘May his place be deserted; let there be no one to dwell in it,’ and, “‘May another take his place of leadership.’]. Christian’s interpret this passage in application to Judas, as a prophetic declaration concerning him, or at least a subject that might be accommodated to his case. (From the Adam Clarke Commentary, 1831) 
 
Nine hundred years ago, the Cathedral of Salisbury, England developed a unique form of chant and liturgy known as the “Use of Salisbury,” or “Sarum Use.” Differences from the Roman rite are both melodic (more florid in the Sarum) and textual (Elizabethan English rather than Latin). The best repository of Sarum Use tones is the St. Dunstan's Plainsong Psalter, from which Sarah has sung this psalm. Additional resources on Sarum Use plainsong at https://canticasacra.org. 
 
“A Poor Man,” an unchanged photograph (2019) by Raazsingh007, is made available at Wikimedia Commons under the Creative Commons Attribution-Share Alike 4.0 International license at: https://creativecommons.org/licenses/by-sa/4.0/deed.en.

Psalm 109:20-30 chanted in the Sarum Use by Sarah James

Themes: The Psalmist speaks against his inveterate enemies, prays against them and announces God's judgments, the reason on which this is grounded, and prays for his own safety and salvation, using many arguments to invoke God’s mercy upon him.  The title of this psalm, To the chief Musician, A Psalm of David, has already often occurred, and on it the versions offer nothing new. The Syriac says it is "a Psalm of David, when the people, without his knowledge, made Absalom king; on which account he was slain.”  (From the Adam Clarke Commentary, 1831)

In Judaism: Psalm 109 is recited on the day of Parshat Zachor, which are Shabbat days on which special events or holidays are commemorated.  (Wikipedia)

In Christianity: That Psalm 109 foretells the passion of Christ and contains a prophecy against Judas and the enemies of our Lord, is evident from  Acts 1:20.  Probably, in its primary meaning, (for such a meaning it certainly has), 

Psalm 109:20-30 – Et tu, Domine

Psalm 109:5-19 chanted in the Sarum Use by Sarah James 
 
Themes: The Psalmist speaks against his inveterate enemies, prays against them and announces God's judgments, the reason on which this is grounded, and prays for his own safety and salvation, using many arguments to invoke God’s mercy upon him. The title of this psalm, To the chief Musician, A Psalm of David, has already often occurred, and on it the versions offer nothing new. The Syriac says it is "a Psalm of David, when the people, without his knowledge, made Absalom king; on which account he was slain.” (From the Adam Clarke Commentary, 1831) 
 
In Judaism: Psalm 109 is recited on the day of Parshat Zachor, which are Shabbat days on which special events or holidays are commemorated. (Wikipedia) 
 
In Christianity: That Psalm 109 foretells the passion of Christ and contains a prophecy against Judas and the enemies of our Lord, is evident from Acts 1:20. Probably, in its primary meaning, (for such a meaning it certainly has), it may refer to Ahithophel [of David’s day]. The imprecations in it should be rendered in the future tense, as they are mere prophetic denunciations of God's displeasure against sinners. Taken in this light, it cannot be a stumbling-block to any person. God has a right to denounce those judgments which he will inflict on the workers of iniquity. But perhaps the whole may be the execrations of David's enemies against himself. Ahithophel, who gave evil counsel against David, and being frustrated hanged himself, was no mean prototype of Judas the traitor; it was probably on this account that St. Peter, Acts 1:20 [“For,” said Peter, “it is written in the Book of Psalms: “‘May his place be deserted; let there be no one to dwell in it,’ and, “‘May another take his place of leadership.’]. Christian’s interpret this passage in application to Judas, as a prophetic declaration concerning him, or at least a subject that might be accommodated to his case. (From the Adam Clarke Commentary, 1831) 
 
Nine hundred years ago, the Cathedral of Salisbury, England developed a unique form of chant and liturgy known as the “Use of Salisbury,” or “Sarum Use.” Differences from the Roman rite are both melodic (more florid in the Sarum) and textual (Elizabethan English rather than Latin). The best repository of Sarum Use tones is the St. Dunstan's Plainsong Psalter, from which Sarah has sung this psalm. Additional resources on Sarum Use plainsong at https://canticasacra.org. 
 
“The arrest of Christ upon the kiss of Judas and Peter cutting off the ear of Malchus,” a fresco (ca. 1437-1446) by Fra Angelico, is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or fewer.

Psalm 109:5-19 chanted in the Sarum Use by Sarah James

Themes: The Psalmist speaks against his inveterate enemies, prays against them and announces God's judgments, the reason on which this is grounded, and prays for his own safety and salvation, using many arguments to invoke God’s mercy upon him.  The title of this psalm, To the chief Musician, A Psalm of David, has already often occurred, and on it the versions offer nothing new. The Syriac says it is "a Psalm of David, when the people, without his knowledge, made Absalom king; on which account he was slain.”  (From the Adam Clarke Commentary, 1831)

In Judaism: Psalm 109 is recited on the day of Parshat Zachor, which are Shabbat days on which special events or holidays are commemorated.  (Wikipedia)

In Christianity: That Psalm 109 foretells the passion of Christ and contains a prophecy against Judas and the enemies of our Lord, is evident from  Acts 1:20.  Probably, in its primary meaning, (for such a meaning it certainly has), i

Psalm 109:5-19 – Constitue super eum peccatorem

Psalm 109:1-4 chanted in the Sarum Use by Sarah James 
 
Themes: The Psalmist speaks against his inveterate enemies, prays against them and announces God's judgments, the reason on which this is grounded, and prays for his own safety and salvation, using many arguments to invoke God’s mercy upon him. The title of this psalm, To the chief Musician, A Psalm of David, has already often occurred, and on it the versions offer nothing new. The Syriac says it is "a Psalm of David, when the people, without his knowledge, made Absalom king; on which account he was slain.” (From the Adam Clarke Commentary, 1831) 
 
In Judaism: Psalm 109 is recited on the day of Parshat Zachor, which are Shabbat days on which special events or holidays are commemorated. (Wikipedia) 
 
In Christianity: That Psalm 109 foretells the passion of Christ and contains a prophecy against Judas and the enemies of our Lord, is evident from Acts 1:20. Probably, in its primary meaning, (for such a meaning it certainly has), it may refer to Ahithophel [of David’s day]. The imprecations in it should be rendered in the future tense, as they are mere prophetic denunciations of God's displeasure against sinners. Taken in this light, it cannot be a stumbling-block to any person. God has a right to denounce those judgments which he will inflict on the workers of iniquity. But perhaps the whole may be the execrations of David's enemies against himself. Ahithophel, who gave evil counsel against David, and being frustrated hanged himself, was no mean prototype of Judas the traitor; it was probably on this account that St. Peter, Acts 1:20 [“For,” said Peter, “it is written in the Book of Psalms: “‘May his place be deserted; let there be no one to dwell in it,’ and, “‘May another take his place of leadership.’]. Christian’s interpret this passage in application to Judas, as a prophetic declaration concerning him, or at least a subject that might be accommodated to his case. (From the Adam Clarke Commentary, 1831) 
 
Nine hundred years ago, the Cathedral of Salisbury, England developed a unique form of chant and liturgy known as the “Use of Salisbury,” or “Sarum Use.” Differences from the Roman rite are both melodic (more florid in the Sarum) and textual (Elizabethan English rather than Latin). The best repository of Sarum Use tones is the St. Dunstan's Plainsong Psalter, from which Sarah has sung this psalm. Additional resources on Sarum Use plainsong at https://canticasacra.org. 
 
“The Temptation of St. Anthony,” an oil on canvas (ca. 1650) by Joos van Craesbeeck, is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or fewer. “The Holy Trinity,” tempera on wood,” is an altarpiece (1489) by an unknown artist. The unchanged photo of this later work, from the Musée Hyacinthe-Rigaud, is made available at Wikimedia Commons under the Creative Commons Attribution-Share Alike 4.0 International license at: https://creativecommons.org/licenses/by-sa/4.0/deed.en.

Psalm 109:1-4 chanted in the Sarum Use by Sarah James

Themes: The Psalmist speaks against his inveterate enemies, prays against them and announces God's judgments, the reason on which this is grounded, and prays for his own safety and salvation, using many arguments to invoke God’s mercy upon him.  The title of this psalm, To the chief Musician, A Psalm of David, has already often occurred, and on it the versions offer nothing new. The Syriac says it is "a Psalm of David, when the people, without his knowledge, made Absalom king; on which account he was slain.”  (From the Adam Clarke Commentary, 1831)

In Judaism: Psalm 109 is recited on the day of Parshat Zachor, which are Shabbat days on which special events or holidays are commemorated.  (Wikipedia)

In Christianity: That Psalm 109 foretells the passion of Christ and contains a prophecy against Judas and the enemies of our Lord, is evident from  Acts 1:20.  Probably, in its primary meaning, (for such a meaning it certainly has), it

Psalm 109:1-4 – Deus, laudem meam ne tacueris

Psalm 105:23-44 chanted in the Sarum Use by Sarah James 
 
Themes: An exhortation to praise God for his wondrous works, his goodness to Abraham, Isaac, and Jacob, to Joseph in Egypt, to Israel in Egypt, to Moses in the same land, the plagues sent on the Egyptians, the deliverance of the Israelites out of Egypt, how he supported them in the wilderness, and brought them into Canaan. We find several verses of this psalm in 1 Chronicles 16, from which it is evident that David was the author of the principal part of it: but it was probably enlarged and sung at the restoration of the people from the Babylonian captivity. The hallelujah which terminates the preceding psalm, is made the title of this by the Vulgate, Septuagint, Ethiopic, and Arabic: but it has no title either in the Hebrew or Chaldee. The Syriac considers it a paraphrase on the words, "Fear not, Jacob, to go down into Egypt; and teach us spiritually not to fear when we are obliged to contend with devils; for God is our shield, and will fight for us." Psalm 105 is a history of God's dealings with Abraham and his posterity, till their settlement in the promised land. (From the Adam Clarke Commentary, 1831) 
 
In Judaism: Psalm 105 is recited on the first day of Passover. Verses 8-10 are part of the paragraph recited in the naming of a boy at a brit milah (male circumcision). Verses 8 and 42 are found separately in the repetition of the Amidah (the Standing Prayer) on Rosh Hashanah, which is the Jewish New Year. (Wikipedia) 
 
In Christianity: Mary, the mother of Jesus, is recorded in Luke 1:72-73 as having quoted verses 8-9 of Psalm 105, with her words being: “To perform the mercy promised to our fathers, and to remember his holy covenant; the oath which he sware to our father Abraham.” (Wikipedia) 
 
Nine hundred years ago, the Cathedral of Salisbury, England developed a unique form of chant and liturgy known as the “Use of Salisbury,” or “Sarum Use.” Differences from the Roman rite are both melodic (more florid in the Sarum) and textual (Elizabethan English rather than Latin). The best repository of Sarum Use tones is the St. Dunstan's Plainsong Psalter, from which Sarah has sung this psalm. Additional resources on Sarum Use plainsong at https://canticasacra.org. 
 
“Israel in Egypt, an oil on canvas (1867) by Edward Poynter, is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or fewer. It is in the public domain in the United States because it was published (or registered with the U.S. Copyright Office) before January 1, 1926.

Psalm 105:23-44 chanted in the Sarum Use by Sarah James

Themes: An exhortation to praise God for his wondrous works, his goodness to Abraham, Isaac, and Jacob, to Joseph in Egypt, to Israel in Egypt, to Moses in the same land, the plagues sent on the Egyptians, the deliverance of the Israelites out of Egypt, how he supported them in the wilderness, and brought them into Canaan.  We find several verses of this psalm in 1 Chronicles 16, from which it is evident that David was the author of the principal part of it: but it was probably enlarged and sung at the restoration of the people from the Babylonian captivity. The hallelujah which terminates the preceding psalm, is made the title of this by the Vulgate, Septuagint, Ethiopic, and Arabic: but it has no title either in the Hebrew or Chaldee. The Syriac considers it a paraphrase on the words, "Fear not, Jacob, to go down into Egypt; and teach us spiritually not to fear when we are obliged to contend with devils; for God is our shield, 

Psalm 105:23-44 – Et intravit Israel in Ægyptum

Psalm 78:57-73 chanted in the Sarum Use by Sarah James 
 
Themes: An enumeration of the principal effects of the goodness of God to his people, their rebellions and punishment, their feigned repentance, God's compassion towards them, their backsliding, and forgetfulness of his mercy, the plagues which he brought upon the Egyptians, the deliverance of his own people and their repeated ingratitude and disobedience, their punishment, God's wrath against their adversaries, his rejection of the tribes of Israel but his choice of the tribe of Judah, and of David to be king over his people. The title, Maschil of Asaph; or, according to the margin, A Psalm for Asaph to give instruction; contains nothing particular. The Arabic has, "A sermon from Asaph to the people." The psalm was probably not written by David, but after the separation of the ten tribes of Israel, and after the days of Rehoboam, and before the Babylonian captivity, for the temple was still standing. Calmet supposes that it was written in the days of Asa, who had gained, by the aid of the Syrians, a great victory over the Israelites; and brought back to the pure worship of God many out of the tribes of Ephraim, Manasseh, and Simeon. See 2 Chronicles 15 and 2 Chronicles 16:1-14. (From the Adam Clarke Commentary, 1831) 
 
In Judaism: This psalm is recited on the third through sixth days of Passover in some traditions. Verse 36-37 are found in the Foundation of Repentance recited on the eve of Rosh Hashanah (the Jewish New Year). Verse 38 (V'hu Rachum) begins a paragraph by the same name in Pesukei Dezimra (a group of praises that may be recited daily during Jewish morning services). It is also the seventeenth verse of Yehi Kivod (another prayer) in Pesukei Dezimra, and the opening and closing verses of the morning prayer recited on Mondays and Thursdays. Verse 54 is part of Pirkei Avot, which is a compilation of ethical teachings and maxims from Rabbinic tradition. (Wikipedia) 
 
In Christianity: Verse 2 is quoted so as to explain Jesus’ method of teaching, in Matthew 13:35: “That it might be fulfilled which was spoken by the prophet, saying, I will open my mouth in parables; I will utter things which have been kept secret from the foundation of the world.” 
Jesus quoted verse 24 when he was asked for the sign of his authority: “Our fathers did eat manna in the desert; as it is written, He gave them bread from heaven to eat. For the bread of God is he which cometh down from heaven, and giveth life unto the world. Then said they unto him, Lord, evermore give us this bread. And Jesus said unto them, I am the bread of life: he that cometh to me shall never hunger; and he that believeth on me shall never thirst. But I said unto you, That ye also have seen me, and believe not.” (see John 6:31-36). (Wikipedia) 
 
Nine hundred years ago, the Cathedral of Salisbury, England developed a unique form of chant and liturgy known as the “Use of Salisbury,” or “Sarum Use.” Differences from the Roman rite are both melodic (more florid in the Sarum) and textual (Elizabethan English rather than Latin). The best repository of Sarum Use tones is the St. Dunstan's Plainsong Psalter, from which Sarah has sung this psalm. Additional resources on Sarum Use plainsong at https://canticasacra.org. 
 
The video begins with “The Sacrifice of Elijah Before the Priests of Baal,” a painting (ca. 1621-22) by Domenico Fetti, and continues with “David dictating the Psalms,” which is a codex binding plate of ivory. Both works are in the public domain in their country of origin and other countries and areas where the copyright term is the author's life plus 100 years or fewer.

Psalm 78:57-73 chanted in the Sarum Use by Sarah James

Themes: An enumeration of the principal effects of the goodness of God to his people, their rebellions and punishment, their feigned repentance, God's compassion towards them, their backsliding, and forgetfulness of his mercy, the plagues which he brought upon the Egyptians, the deliverance of his own people and their repeated ingratitude and disobedience, their punishment, God's wrath against their adversaries, his rejection of the tribes of Israel but his choice of the tribe of Judah, and of David to be king over his people.  The title, Maschil of Asaph; or, according to the margin, A Psalm for Asaph to give instruction; contains nothing particular. The Arabic has, "A sermon from Asaph to the people." The psalm was probably not written by David, but after the separation of the ten tribes of Israel, and after the days of Rehoboam, and before the Babylonian captivity, for the temple was still standing.  Calmet supposes that it was

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