Psalm 24

The earth is the LORD’s, and the fullness thereof; the world, and they that dwell therein.
He hath founded it on the seas and established it up on the floods.
Who shall ascend into the hill of the Lord? And who shall stand in His Holy place?
He that hath clean hands, and a pure heart,
Who hath not lifted up his soul unto vanity, and hath not sworn deceitfully.
He shall receive a blessing from the Lord and righteousness from the God of his salvation.

This is the generation of them that seek after Him, that seek a face in Jacob, O God of Jacob.
Lift up your heads, O ye gates, and be ye lift up ye everlasting doors and the King of glory shall come in.
Who is the King of Glory? The Lord strong and mighty in battle.
Who is the King of glory? The Lord of hosts, He is the King glory!
Jehovah!

Though the composer of this arrangement is often believed to be Nadia Boulanger, “Psalm 24” was originally created by Nadia’s younger sister, Lili Boulanger, in 1916.

Lili was born in Paris, France in 1893, and lived a very short life, dying from a chronic illness at the age of 24, around the end of World War I. She and her sister Nadia both received musical education from a young age, studying under renowned composer Gabriel Fauré. Lili was an especially curious and dedicated prodigy of musical studies. In her short life, she composed 23 pieces for orchestra, piano, and solo voice/chorus, including “Psalm 24.” The text is taken from the Old Testament hymn of David to give to his son, Solomon, for the dedication of the new Temple of the LORD. It emphasizes the power and might of God, reflected in the name given to Him, “King of Glory.”

“Psalm 24” acts as an expression of Boulanger’s perseverance through illness. Through her suffering, she relied on God, stressing in this piece God’s strength, might, and eternality. The piece’s fast rhythmic pulse carries the listener forward, working like a driving force that pushes oneself toward the end of life on earth and into eternity. The musical traits – the accented melody, open fifth/octave harmonies, and minor sounding accompaniment throughout the piece – create a sound like the Monastic chants found in medieval Europe, further developing the imagery of God as an eternal monarch. In addition, the steadfast praise through a wide variety of moods and dynamics reflects the kind of devotion that can carry a person through the depth of human emotion and experience. As the finale, the chorus exclaims, “Ah!” ringing with perseverance and victory.

~ Notes by Brandt Coffey