Psalm 136:15-27 chanted in the Sarum Use by Sarah James.

Theme: An exhortation to give thanks to God for various mercies granted to all men; in the wilderness; and in the promised land; for the redemption of the captives from Babylon; and for his providential mercies to all. This psalm is little else than a repetition of the preceding, with the refrain, חסדו לעולם כי ki leolam chasdo, "because his mercy endureth forever," at the end of every verse. It seems to have been a responsorial song: the first part of the verse sung by the Levites, the refrain by the people. It has no title in the Hebrew, nor in any of the Versions. It was doubtless written after the captivity. (Adam Clarke’s commentary, public domain)

In Judaism: Psalm 136 is sometimes called the Great Hallel (Hallel HaGadol), meaning "great praise.” It is called "great" to differentiate it from the Egyptian Hallel, another prayer of praise comprising psalms 113 to 118. This psalm is recited in its entirety during the Pesukei Dezimra (Morning Prayer) on Shabbat, Yom Tov, and Hoshana Rabbah. It is recited on the eighth day of Passover in some traditions. Verse 1 is part of the final paragraph of Birkat Hamazon. Verse 4 is recited when opening the Hakafot (dance around a religious object) on Simchat Torah. Verse 6 is recited in Rokah Ha'aertz Al Hamayim of Birkat HaShachar (a series of blessings in the morning prayer). Verse 7 is part of Likel Barukh in Blessings before the Shema. Verse 25 is part of the opening paragraph of Birkat Hamazon.
Verse 1: "For he is good, for his steadfast love endures forever" was recited at Solomon's dedication of the Temple. (Wikipedia)

In Christianity: In the Orthodox Church, this psalm long with Psalm 135 is called the Polyeleos (Many Mercies), named such after the refrain used "for His mercy endures forever.” The Polyeleos is sung at Orthros (Matins) of a Feast Day and at Vigils. In some Slavic traditions and on Mount Athos it is read every Sunday at Orthros. On Mount Athos it is considered one of the most joyful periods of Matins-Liturgy, and the highest point of Matins. In Athonite practice, all the candles are lit, and the chandeliers are made to swing as the Psalms are sung, it is also accompanied by a joyful peal of the bells and censing of the church, sometimes with a hand censer which has many bells on it. At vigils, it accompanies the opening of the Royal Doors and a great censing of the nave by the Priest(s) or Deacon(s). The Coptic Orthodox chant Psalm 136 as the second Canticle or the second Hoos of the Midnight Praises known as Tasbeha, a nightly prayer practiced in Coptic Orthodox Churches and Monasteries.

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.

“On to Liberty” is an oil painting (1867) by Theodor Kaufmann.