Psalms 202 1 Edition Dr

Total Page:16

File Type:pdf, Size:1020Kb

Psalms 202 1 Edition Dr Notes on Psalms 202 1 Edition Dr. Thomas L. Constable TITLE The title of this book in the Hebrew Bible is Tehillim, which means "praise songs." The title adopted by the Septuagint translators for their Greek version was Psalmoi meaning "songs to the accompaniment of a stringed instrument." This Greek word translates the Hebrew word mizmor that occurs in the titles of 57 of the psalms. In time, the Greek word psalmoi came to mean "songs of praise" without reference to stringed accompaniment. The English translators transliterated the Greek title, resulting in the title "Psalms" in English Bibles. WRITERS The texts of the individual psalms do not usually indicate who wrote them. Psalm 72:20 seems to be an exception, but this verse was probably an early editorial addition, referring to the preceding collection of Davidic psalms, of which Psalm 72, or 71, was the last.1 However, some of the titles of the individual psalms do contain information about the writers. The titles occur in English versions after the heading (e.g., "Psalm 1") and before the first verse. They were usually the first verse in the Hebrew Bible. Consequently, the numbering of the verses in the Hebrew and English Bibles is often different, the first verse in the Septuagint and English texts usually being the second verse in the Hebrew text, when the psalm has a title. 1See Gleason L. Archer Jr., A Survey of Old Testament Introduction, p. 439. Copyright Ó 2021 by Thomas L. Constable www.soniclight.com 2 Dr. Constable's Notes on Psalms 2021 Edition "… there is considerable circumstantial evidence that the psalm titles were later additions."1 However, one should not understand this statement to mean that they are not inspired. As with some of the added and updated material in the historical books, the Holy Spirit evidently led editors to add material that the original writer did not include. Two examples are the city name "Dan" in Genesis, and the city name "Rameses" in Exodus. Some critics of the Psalms have concluded that the titles are not reliable. Conservative scholars have adequately refuted these views2 This is the only really reliable information that we have as to who composed these psalms, though the commentators have their theories. Only Psalms and Proverbs in the Old Testament claim composite authorship for themselves. "The best solution is to regard the titles as early reliable tradition concerning the authorship and setting of the psalms. The titles, however, should not be taken as original or canonical."3 Not all the titles contain information about authorship. Students of the psalms sometimes refer to those without writer information in their titles as anonymous or "orphan" psalms. The ones that do contain this information refer to the following writers. Moses wrote Psalm 90. David composed at least 73 psalms, mostly in the first two books of the Psalter (i.e., Pss. 1—72). Asaph wrote 12 (Pss. 50, 73—83). Korah's descendants were responsible for 10 (Pss. 42, 44—49, 84, 87—88). Solomon wrote one or two (127 and perhaps 72). Heman the Ezrahite wrote one (Ps. 88), and Ethan the Ezrahite composed one (Ps. 89).4 There is some difference in the numbering of the psalms among versions. This is because some translations, such as the Protestant English versions, come from the Masoretic (Hebrew) text. Others, such as the Roman Catholic English versions, followed the Latin Vulgate translation, which was based on the Septuagint (Greek) text. 1Tremper Longman III and Raymond B. Dillard, An Introduction to the Old Testament, p. 241. 2E.g., Archer, pp. 440-45. 3Longman and Dillard, p. 242. 4See Kenneth G. Hanna, From Moses to Malachi, p. 277, for a chart of the psalm writers. 2021 Edition Dr. Constable's Notes on Psalms 3 Hebrew Numbering Greek Numbering 1—8 1—8 9—10 9 11—113 10—112 114—115 113 116:1-9 114 116:10-19 115 117—146 116—145 147:1-11 146 147:12-20 147 148—150 148—150 DATES AND ORGANIZATION Of these psalms, the earliest would have been the one Moses wrote (Ps. 90), and it probably dates from about 1405 B.C. Those David composed would have originated between about 1020 and 975 B.C. Asaph was a contemporary of David, so we can date his in approximately the same period. Solomon's psalm(s) seem to have been produced about 950 B.C. Korah's descendants, as well as Heman and Ethan, probably lived after David and Solomon, but exactly when we cannot identify. Since Heman and Ethan are connected with Ezra as Ezrahites, they probably lived and wrote after the Babylonian exile. We can date some of the psalms that do not contain information about their writers in the title, if they have a title, by their subject matter. For example, David seems to have written Psalms 2 and 33 even though his name does not occur in the superscriptions (cf. Acts 4:25).1 Likewise 1See Gerald H. Wilson, Psalms—Volume 1, pp. 75-81, for further discussion of the psalm headings. 4 Dr. Constable's Notes on Psalms 2021 Edition Psalms 126 and 137 must have been late compositions dating from the time the Jews returned from Babylonian exile or shortly after that. "An analogy between the Psalter and a contemporary hymnbook is instructive. Many modern hymns arose as a result of a specific event in the life of a hymn writer, but the event remains hidden (at least without historical research) from the person who sings the song today. The hymn was written in such a way that it allows all who sing it to identify with it."1 "The Psalms have more to say about Christ than they have to say about any other person. It is a H-I-M book—it was a hymn book of the temple, but it is all about Him; it is praise to Him."2 Most of the Psalms, then, were written between 1000 and 450 B.C. Eugene Merrill narrowed these dates to 970 and 550 B.C.3 The one by Moses was composed considerably earlier and a few may have been written later, but probably not much later, than 450 B.C. There is some internal evidence in the Book of Psalms that the Jews collected the individual psalms and compiled them into groups in various stages and that this process took many years.4 We would expect this because some psalms date hundreds of years after others. Psalm 72:20, for example, seems to mark the end of a collection of David's psalms that antedated the Psalter we now have, but which editors incorporated into the larger work. Psalm 1 appears intended to introduce this collection and, probably later, the entire Psalter. The writer of most of the first 72 psalms (Books 1 and 2 of our modern editions) was David. Editors may have added those by Asaph and Korah's descendants (Pss. 42—50) to this collection later. Seventeen psalms after Psalm 72 claim that David wrote them. 1Longman and Dillard, pp. 244-45. 2J. Vernon McGee, Thru the Bible with J. Vernon McGee, 5:510. 3Eugene H. Merrill, "Psalms: Human Response to Divine Presence," in The Old Testament Explorer, p. 404. 4See Duane L. Christensen, "The Book of Psalms within the Canonical Process in Ancient Israel," Journal of the Evangelical Theological Society 39:3 (September 1996):421-32. 2021 Edition Dr. Constable's Notes on Psalms 5 Solomon (2 Chron. 5:11-14; 7:6; 9:11; Eccles. 2:8), Jehoshaphat (2 Chron. 20:21-22), and Jehoiada (2 Chron. 23:18) all organized temple singing, and may have had a hand in compiling some of the psalms. Hezekiah (715-686 B.C.; 2 Kings 18—20; 2 Chron. 29—32), one of Judah's best kings and one who led his people in returning to Scripture, may have added to and organized part of the Psalter (cf. 2 Chron. 29:25-28, 30; 30:21; 31:2; Prov. 25:1). So may Josiah, another reforming king of Judah (640-609 B.C.; 2 Kings 22:1—23:30; 2 Chron. 34—35; cf. 2 Chron. 35:15, 25). The last two books (sections) of Psalms (chs. 90—106 and 107—150) contain more miscellaneous psalms dating from Moses to the return from exile. It seems likely that Ezra, the great renovator of postexilic Judaism, may have been responsible for adding these and perhaps putting the whole collection in its final form.1 The oldest record we have of the fivefold division of the Psalter comes from a Dead Sea scroll that dates to the first century A.D.: the time of Christ. As is true of modern hymnals, there are smaller collections of Psalms within the larger collections. These smaller collections include songs of ascent (Pss. 120—134), the writings of Asaph (Pss. 73—83), the psalms of Korah's descendants (Pss. 42—49), and the hallelujah psalms (Ps. 113— 118, 146—150). "The picture that emerges is a mixture of order and informality of arrangement, which invites but also defeats the attempt to account for every detail of its final form. There is some chronological progression, with David most in evidence in the first half, and a clear allusion to the captivity towards the close of Book V (Ps. 137). But David reappears in the next psalm (138), and by contrast, the fall of Jerusalem had been lamented as far back as Psalm 74."2 Each of the five books or major sections of the Psalter ends with a doxology, and Psalm 150 is a grand doxology for the whole collection.
Recommended publications
  • Old Testament Psalms in the Book of Mormon
    17 Old Testament Psalms in the Book of Mormon John Hilton III he Psalms provide powerful messages of praise and worship . Their words Treverberate not only throughout the Old Testament but also in the New . Elder Jeffrey R . Holland has written that “the book of Psalms may be the one biblical text admired nearly equally by both Christians and Jews, to say noth- ing of those of other faiths—or no faith at all—who find comfort in its verses and encouragement in the hope they convey ”. 1 Over one hundred years ago Franz Delitzsch noted, “Next to the book of Isaiah, no book is so frequently quoted in the New Testament as the Psalter ”. 2 Henry Shires similarly states that “the N[ew] T[estament] has been influenced by Psalms more than by any other book of the O[ld] T[estament] . In 70 cases N T. quotations of Psalms are introduced by formulas . There are 60 more quo- tations that have no introductory formula, and in an additional 220 instances we can discover identifiable citations and references ”.3 These frequent New Testament allusions to the Psalms should not be surprising, for as Robert Alter writes, “Through the ages, Psalms has been the most urgently, personally pres- ent of all the books of the Bible in the lives of many readers ”. 4 John Hilton III is an assistant professor of ancient scripture at Brigham Young University. 291 292 John Hilton III Given that the Psalms are frequently quoted in the New Testament, one wonders if a similar phenomenon occurs in the Book of Mormon .
    [Show full text]
  • Worship! Psalm 148-150 - Read Passage: Epmkg.Com/Psalm148 ​
    Study Notes Worship! Psalm 148-150 - Read Passage: epmkg.com/Psalm148 ​ About Austin’s Study Notes This document contains information and resources Pastor Austin Rammell used to research and compile his weekly message. Resources are copyrighted by their respective authors and credited via footnotes. We encourage you to purchase the original resource materials to perform your own study. Notes C. The Praise of Creation (Ps 148) This anonymous psalm certainly belongs to the period of the restoration of Jerusalem under Nehemiah. It consists of two divisions: (1) heavenly praise (vv. 1–6); and (2) earthly praise (vv. 7–14). 148:1–6. The psalmist calls for praise to ring out from the heavens. The angels and the “hosts”—here probably the stars—should join in that praise. “The heaven of heavens” is the highest heavens. The waters above the expanse in the clouds should praise God too. All that is in the heavens were created at the command of God. They owe their perpetual maintenance to his providence. 148:7–13. The earth should join the heavens in the praise of God. The sea monsters of the deep, the phenomena of weather, mountains, trees, beasts and fowl owe Yahweh their praise. Last of all man, as the crown of creation, is summoned to join the Hallelujah chorus ​ without respect to station, age or sex. 148:14. Israel had special ground for praise. Yahweh had once more “lifted up the horn” of his people, i.e., given them dignity and power. Israel was a people near to Yahweh, i.e., they stood in a unique relationship to him.
    [Show full text]
  • International Review for the History of Religions
    INTERNATIONAL REVIEW FOR THE HISTORY OF RELIGIONS EDITED ON BEHALF OF THE INTERNATIONAL ASSOCIATION FOR THE HISTORY OF RELIGIONS by M. HEERMA VAN VOSS, E. J. SHARPE, R. J. Z. WERBLOWSKY VOLUME XXVIII F:'b r- t--w LEIDEN E. J. BRILL 1981 CONTENTS Articles JOHNC. HOLT, Assisting the Dead by Venerating the Living. 1 ALAN MILLAR and JOHN K. RICHES, Interpretation: a theore- tical perspective and some applications ......................... 29 G. R. H. WRIGHT, Dumuzi at the court of David ............... 54 A. T. KRAABEL, The Disappearance of the "God-fearers" .... 113 LUTHER H. MARTIN, Josephus' Use of Heimarmene in the Jewish AntiquitiesXIII, 171-3 .................................... 127 JORUNN JACOBSEN BUCKLEY, The Mandaean Tabahata Masiqta ......... ......... ....................... ...... 138 I. FRIEDRICHSILBER, Dissent through holiness: the case of the radical renouncer in Theravada Buddhist countries.......... 164 RICCARDO M. FRACASSO, Manifestazioni del simbolismo assiale nelle tradizioni cinesi antiche ............................ 194 R. S. NEWMAN,Faith is All! Emotion and Devotion in a Goan Sect ............................................................ 216 Review articles WOLF B. OERTER, Zur Bildersprache des Manichaiismus ...... 64 VITALY A. RUBIN, Values of Confucianism ....................... 72 R. J. Z. WERBLOWSKY,Collected essays........................... 81 R. J. Z. WERBLOWSKY,Polemics .................................... 86 Book reviews Julian Apostata, hrsg. von Richard Klein (G. W. BOWERSOCK) 88 Yuyama, Akira, SystematischeUbersicht
    [Show full text]
  • Second Vespers in Ordinary Time E Week I F  ST
    Second Vespers in Ordinary Time e Week I f ST. JAMES CATHEDRAL SEATTLE Second Vespers WITH BENEDICTION OF THE BLESSED SACRAMENT FOR THE SUNDAYS OF ORDINARY TIME Week I We welcome our visitors to St. James Cathedral and to Sunday Vespers. In keeping with a long tradition in cathedral churches, the Office of Vespers, along with Benediction of the Blessed Sacrament, is prayed each Sunday in the cathedral, linking St. James with cathedral churches throughout the world. We invite your prayerful participation. Lucernarium OFFERING OF LIGHT please stand Cantor: ALL: Procession from the Paschal Candle Cantor: ALL: all make the sign of the cross The cantor proclaims the evening thanksgiving, which ends: ALL: Exposition of the Blessed Sacrament INCENSATION AND SONG please kneel Psalm 141 Domine, clamavi Refrain Hughes Cantor: I have called to you, Lord: hasten to help me! Hear my voice when I cry to you. Let my prayer arise before you like incense, the raising of my hands like an evening oblation. Refrain. Set, O Lord, a guard over my mouth; keep watch at the door of my lips! Do not turn my heart to things that are wrong, to evil deeds with those who are sinners. Refrain Glory to the Father, and to the Son, and to the Holy Spirit: as it was in the beginning, is now, and will be for ever. Amen. Refrain Presider: Let us pray. Collect to Psalm 141 ALL: Amen. Evening Hymn Lead, kindly light lux benigna Text: Cardinal Newman Psalmody From ancient times it has been the custom the pray the Psalms antiphonally.
    [Show full text]
  • Vesper PASSIONTIDE 03 06 16 Website
    SUNDAY VESPERS Passiontide This booklet was prepared for parish use (March 2016 rev). Text and English translation are from The Divinum Officium Project (http://divinumofficium.com). Music for Vespers is from the Benedictines of Solesmes (eds.) The Liber Usualis with Introduction and Rubrics in English. (Desclee Company, 1961) and music for Benediction is from the Parish Book of Chant (Church Music Association of America, 2012). SUNDAY VESPERS - PASSIONTIDE All stand for the beginning of Vespers. SUNDAY AT VESPERS. PateINVITATORYr n6ster. Ave Maria. Festal Tone. 6- -=-SUNDA+ Hi 1 YI • A•T VESPERS. +9 Make the Sign ofSUNDA theSUNDA Cross Y(Y ✠ A) AwithTT theVESPERSVESPERS Officiant as.. he intones: E-usSUNDA in adjuto-ri-uPateYr n6ster AmT. Av m^-urVESPERSe Marian .inte"nde. 1^7. D o m i n e FestaDl Tone. Pater n6ster. Ave Maria. Pater n6ster. Ave Maria. Officiant:Festal Tone . Pate r n6ster . Av e Maria . All: mFesta l Tone. • Festal Tone6- .-=-+ Hi 1 I • • +9 O God, come to my -=--=-++ HHi i 11 I I • • •• assistance. ✠ Glory be to the 66---=-+SUNDAHi 1 I Y• •AT VESPERS. ++99 6adjuvandu- m festina. G16-ri- +9 Father, and to the Son, and to Dad E-us in adjuto-ri-ume m m^-ur n inte"ndea Patri. 1^7, e. Dt oFi-li m i n-eo, E-us in adjuto-ri-uPater n6sterm. Av m^-ure Marian inte"nde. 1^7. D o m i n e the Holy Spirit. As is was in 1 E-us in adjuto-ri-um m^-urn inte"nde. 1^7.
    [Show full text]
  • II Vespers Solemnity of Pentecost
    CATHEDRAL OF ST. PATRICK II Vespers Solemnity of Pentecost Opening Versicle Hymn 1. Come, Creator Spirit, visit the souls of your own; fill with heavenly grace the hearts that you have created. 2. You who are called Paraclete, gift of God most high, the living font, fire, charity, and spiritual annointing; 3. You who are sevenfold in your gift, finger of God's right hand, you who were rightly promised by the Father, enrich our throats in speech. 4. Inflame the light of our senses, pour love into our hearts, the weakness of our bodies strengthen with lasting power. 5. Drive the enemy far back, and at once grant us peace; with you going ahead of us, may we avoid everything harmful. 6. Through you may we know the Father and recognize the Son; and may we always believe that you are the Spirit of them both. Amen. Antiphon I The Spirit of the Lord has filled the whole world, alleluia. PSALM 110:1-5, 7 The Spirit of the Lord has filled the whole world, alleluia. PSALM 110:1-5, 7 The Lord’s revelation to my Master : / “ Sit on my right : * your foes I will put beneath your feet. ” The Lord will wield from Sion your scepter of power : * rule in the midst of all your foes. A prince from the day of your birth on the holy mountains ; * from the womb before the dawn I begot you. The Lord has sworn an oath he will not change. / “ You are a priest for ever, * a priest like Melchizedek of old.
    [Show full text]
  • Nomos and Narrative Before Nomos and Narrative
    Nomos and Narrative Before Nomos and Narrative Steven D. Fraade* I imagine that when Robert Cover's Nomos and Narrative essay' first reached the editors of the Harvard Law Review, their befuddlement derived not so much from Cover's framing of his review of the 1982 Supreme Court term with a philosophically opaque discussion of the interdependence of law and narrative, but from the illustrations that he drew from biblical and rabbinic texts of ancient and medieval times. For Cover, both intellectually and as a matter of personal commitment, these ancient texts evoke a "nomian world," rooted more in communally shared stories of legal origins and utopian ends than in the brutalities of institutional enforcement, one from which modem legal theory and practice have much to learn and to emulate. Since my own head is buried most often in such ancient texts, rather than in modem courts, I thought it appropriate to reflect, by way of offering more such texts for our consideration, on the long-standing preoccupation with the intersection and interdependency of the discursive modes of law and narrative in Hebrew biblical and rabbinic literature, without, I hope, romanticizing them. Indeed, I wish to demonstrate that what we might think of as a particularly modem tendency to separate law from narrative, has itself an ancient history, and to show how that tendency, while recurrent, was as recurrently resisted from within Jewish tradition. In particular, at those cultural turning points in which laws are extracted or codified from previous narrative settings, I hope to show that they are also renarrativized (or remythologized) so as to address, both ideologically and rhetorically, changed socio-historical settings.2 I will do so through admittedly * Steven D.
    [Show full text]
  • Psalms Psalm
    Cultivate - PSALMS PSALM 126: We now come to the seventh of the "Songs of Ascent," a lovely group of Psalms that God's people would sing and pray together as they journeyed up to Jerusalem. Here in this Psalm they are praying for the day when the Lord would "restore the fortunes" of God's people (vs.1,4). 126 is a prayer for spiritual revival and reawakening. The first half is all happiness and joy, remembering how God answered this prayer once. But now that's just a memory... like a dream. They need to be renewed again. So they call out to God once more: transform, restore, deliver us again. Don't you think this is a prayer that God's people could stand to sing and pray today? Pray it this week. We'll pray it together on Sunday. God is here inviting such prayer; he's even putting the very words in our mouths. PSALM 127: This is now the eighth of the "Songs of Ascent," which God's people would sing on their procession up to the temple. We've seen that Zion / Jerusalem / The House of the Lord are all common themes in these Psalms. But the "house" that Psalm 127 refers to (in v.1) is that of a dwelling for a family. 127 speaks plainly and clearly to our anxiety-ridden thirst for success. How can anything be strong or successful or sufficient or secure... if it does not come from the Lord? Without the blessing of the Lord, our lives will come to nothing.
    [Show full text]
  • What Is Biblical Prophecy?
    What is Biblical Prophecy? What Biblical Prophecy is NOT, and What It Really IS: Contrary to what many fundamentalist preachers or late-night radio hosts would have you believe, biblical prophecy is not primarily about “predicting the future” or finding clues in the Bible that correspond to people or events in our own day and age! The prophets of Ancient Israel did not look into some kind of crystal ball and see events happening thousands of years after their own lifetimes. The books they wrote do not contain hidden coded messages for people living in the 20th or 21st centuries! Rather, biblical prophets were mainly speaking to and writing for the people of their own time. They were challenging people of their own world, especially their political rulers, to remain faithful to God’s commandments and/or to repent and turn back to God if they had strayed. They were conveying messages from God, who had called or commissioned them, rather than speaking on their own initiative or authority. However, because the biblical prophets were transmitting messages on behalf of God (as Jews and Christians believe), much of what they wrote for their own time is clearly also relevant for people living in the modern world. The overall message of faith and repentance is timeless and applicable in all ages and cultures. To understand what biblical prophecy really is, let’s look more closely at the origins, definitions, and uses of some key biblical words. In the Hebrew Bible, the word for “prophet” is usually nabi’ (lit. “spokesperson”; used over 300 times!), while the related feminine noun nebi’ah (“prophetess”) occurs only rarely.
    [Show full text]
  • Competing As Lawyers
    Hear students’ thoughts Forget candy, flowers. Sideravages run Disney: about how Feb. 14 What ideal gifts would 48 miles in four days. should be celebrated. you give loved ones? Sound crazy? It’s true! Read page 3. Read pages 6, 7. Read page 8. February 2018 Kennedy High School 422 Highland Avenue The Waterbury, Conn. 06708 Eagle Flyer Volume XIII, Issue V Competing Legal Eagles: Kennedy’s Mock Trial team as lawyers By Jenilyn Djan Staff Writer Win or lose...they still prevailed. Students are already contemplat- ing the 2018 season after competing at the Waterbury Courthouse Thurs- day Dec. 7, 2017 for the Mock Trial Regional competition, where students practiced a semi-altered case mimick- ing an actual trial about whether a man was guilty for the deaths of four fam- ily members aboard his ship. Students won their defense while the prosecu- tion side lost. “It was a good season, even though I was just an alternate. I was able to learn a lot this year,” Melany Junco, a sophomore. Students have been practicing since August 29, 2017 once a week every Monday for this competition, and have even done a few Saturday and addi- LEGAL EAGLES tional practice sessions to be more pre- The defense side of the team won vance to the next round next season. Kennedy’s Mock Trial team competed at the Waterbury Court Thursday, Dec. 7, 2017. They won one case and lost another. Members are, their case, but the prosecution lost. “Our team worked really hard this pared. front row, left to right: sophomores Nadia Evon, Melany Junco, juniors Risper “Even though we lost at the com- “Even though we lost, I thought our year and next year we’ll work even Githinji, Jenilyn Obuobi-Djan, Derya Demirel, Marin Delaney, Kaitlyn Giron, and petition, the students did great,” said prosecution did great,” said Kariny harder to advance,” said William sophomore Samarah Brunette.
    [Show full text]
  • The Zamir Chorale of Boston Joshua R
    The Zamir Chorale of Boston Joshua R. Jacobson, Artistic Director Barbara Gaffin, Managing Director Lawrence E. Sandberg, Concert Manager and Merchandise Manager Edwin Swanborn, Accompanist Andrew Mattfeld, Assistant Conductor Devin Lawrence, Assistant to the Conductor Jacob Harris and Melanie Blatt, Conducting Interns Rachel Miller, President Charna Westervelt, Vice President Michael Kronenberg, Librarian Sopranos Betty Bauman* • Melanie Blatt • Jenn Boyle • Vera Broekhuysen • Lisa Doob • Sharon Goldstein • Naomi Gurt Lind • Maayan Harel • Marilyn J. Jaye • Anne Levy • Sharon Shore Rachel Slusky • Julie Kopp Smily • Louise Treitman • Deborah Wollner Altos Anna Adler • Sarah Boling • Jamie Chelel • Johanna Ehrmann • Deborah Melkin* • Rachel Miller • Judy Pike • Jill Sandberg • Nancy Sargon-Zarsky • Rachel Seliber • Elyse Seltzer • Gail Terman • Phyllis Werlin • Charna Westervelt • Phyllis Sogg Wilner Tenors David Burns • Steven Ebstein* • Suzanne Goldman • Jacob Harris • Kevin Martin • Andrew Mattfeld* • Dan Nesson • Leila Joy Rosenthal • Lawrence E. Sandberg • Gilbert Schiffer • Dan Seltzer • Yishai Sered • Andrew Stitcher Basses Peter Bronk • Abba Caspi • Phil Goldman • Michael Krause-Grosman • Michael Kronenberg Devin Lawrence* • Richard Lustig • Michael Miller • James Rosenzweig • Peter Squires • Mark Stepner • Kyler Taustin • Michael Victor • Jordan Lee Wagner • Robert Wright • Richard Yospin *Section Leader Board of Directors 2016–17 Joshua Jacobson, President • Robert Snyder, Chairman • Peter Finn, Clerk • Gilbert Schiffer, Treasurer • Richard Blocker • Bruce Creditor • Bruce Donoff • Barbara Gaffin, Managing Director • Rachel Miller, Chorus President • Lawrence E. Sandberg Program Notes PSALMS What book has ever been set to music more often than the book of Psalms? Jews and Christians have been interpreting these 150 songs (and they were originally songs, not poems) for thousands of years—as Gregorian chant, synagogue Psalmody, catchy Hallel tunes, stately hymns, and musical masterworks.
    [Show full text]
  • Tiamat, Theatre of Tragedy, PAIN Und Sirenia in Der Münsterer Live Arena! Das Schien Ein Richtig Cooles Package Zu Werden
    Tiamat, Theatre Of Tragedy, PAIN und Sirenia in der Münsterer Live Arena! Das schien ein richtig cooles Package zu werden. Als einer der größten „Verehrer“ von Peter Tägtgren und ehemaliger (auch jetzt noch ein bisschen) Tiamat-Fan, konnte ich mir das natürlich nicht entgehen lassen. Drum fragte ich Peter vor dem Konzert, ob er später ein wenig Zeit für ein Interview hätte. Noch vor Konzertbeginn ergab sich die Möglichkeit zu einem Gespräch, dass wir aus Lärmgründen (Sirenia hat- ten gerade Soundcheck) vom Bistro der Live Arena in die Küche ver- legten. Dort erzählte er mir so einiges über das neue PAIN-ALBUM, über die Fertigstellung der neuen Hypocrisy-Scheibe und über seine diversen Aktivitäten. Aber nun lest selbst, was mir Musik-Gott Peter Tägtgren vor dem Konzert so alles zu sagen hatte... Das neue PAIN-Album ist ja bereits komplett dazu verdonnert, die Songs mit mir einzu- fertig. Was kannst du mir darüber sagen? studieren. Es heißt „Dancing With The Dead“! Es ist dieses mal ein bisschen heftiger. Mehr Gitarren. Es ist Wo kommen die Technoklänge her, die du immer noch PAIN, aber eben ein bisschen heavier. in einigen Songs verwendest? Stehst du Das ist ein ganz normaler Fortschritt, denke ich. Als auf diese Musik? ich die Songs live gespielt habe, ist mir erstmal Ja, ich bin gemeinsam mit meinem Dad und bewusst geworden, dass die heftigeren Songs live dadurch auch mit Musik von Jean Michelle viel besser rüberkommen, deswegen habe ich Jarre aufgewachsen. Das war in den 70ern. diese Richtung eingeschlagen. Keyboard und elektronische Klänge waren immer present. Bist du auch gesanglich härter geworden? Einige Songs sind ein wenig brutaler, aber andere Hast du seine Show in Paris auf dem Champs sind wiederum sehr clean gesungen.
    [Show full text]