The Psalms are a rich source of expressions of praise for the glory of God seen in the wonders of creation. With so many Psalms having been composed by David, it comes as no surprise that as a shepherd, he had time to reflect on the beauties and intricacies of nature, from soaring mountains and grassy pasturelands to the vast expanses of stars in the heavens, from the birds of the skies to the fish of the sea, and from the roaring waters of the oceans to the gentle rains – and even thunderstorms – that filled the streams in the valleys. And of course, David was very much aware of the animals around him, not only the sheep over which he watched protectively, but also the lions and bears which were a frequent threat to their lives, and yet all of whom were fed by the Lord and whose life gave testimony to the glory of their Creator.
And so we discover that many of the Psalms, from David and from others, give expression to a worshipful sense of wonder at the varied work of God’s hands, and what these things teach us about His power and wisdom and compassion. Here is a just a sampling of those references.
- Psalm 1 – “the godly man is like a tree planted by streams of water”
- Psalm 8 – “when I look to the heavens, the moon and the stars which you have set in place”
- Psalm 19 – “the heavens declare the glory of God, and the sky above proclaims His handiwork”
- Psalm 23 – “He makes me lie down in green pastures. He leads me beside still waters”
- Psalm 29 – The God of glory thunders; the voice of the LORD flashes forth flames of fire”
- Psalm 42 – “As the deer pants for flowing streams, so pants my soul for You, O God”
- Psalm 69 – “I have come into deep waters, and the flood sweeps over me”
- Psalm 84 – “Even the sparrow finds a home, and the swallow a nest for herself”
- Psalm 103 – “As for man, his days are like grass, he flourishes like a flower of the field”
- Psalm 104 – “He makes the clouds His chariots, He rides on the wings of the wind”
- Psalm 121 – “I will lift my eyes to the hills. From whence does my help come?”
- Psalm 139 – “You formed my inward parts; You knitted me together in my mother’s womb”
- Psalm 148 – “Praise Him, sun and moon, praise Him all you shining stars”
Hopefully, you can look in your hymnal in the section of hymns about creation, and will be able to find many examples of such praise, not exclusively, but especially from the Psalms. After all, this is the first thing the Bible teaches us about the Lord in Genesis 1:1. “In the beginning, God made the heavens and the earth.” Here is a sample of creation hymns in the (red) Trinity Hymnal drawn from various passages of Scripture.
- “This is My Father’s World” (Acts 4:24)
- “Praise Ye, Praise Ye the Lord” (Psalm 148:1)
- “The Heavens Declare Thy Glory” (Psalm 19:1)
- “Lord, Our Lord, Thy Glorious Name” (Psalm 8:1)
- “All Creatures of Our God and King” (Psalm 15:10)
- “For the Beauty of the Earth” (James 1:17)
- “The Spacious Firmament on High” (Psalm 19:1)
- “Come, Sound His Praise Abroad” (Psalm 95:1)
- “I Sing the Almighty Power of God” (Psalm 95:6)
- “All Things Bright and Beautiful” (Nehemiah 9:6)
- “Praise Him, Praise Him, Praise Him” (Psalm 148:1)
- “God, All Nature Sings Thy Glory” (Psalm 104:24)
- “God of Everlasting Glory” (Psalm 104:31)
- “Praise the Lord Our God” (Psalm 148:1)
- “Let All Things Now Living” (1 Chronicles 16:23)
All of this should affirm to us not only that God has displayed His glory in creation. It should also bolster our congregational singing of these themes, knowing that He delights to hear us laud Him for His works in nature.
Here is a fine example of such a hymn. It is based on numerous verses followed in sequential order from Psalm 148, beginning with verse 1, “Praise the LORD. Praise the LORD from the heavens, praise Him in the heights above.” Drawn from the 1927 “Bible Songs Hymnal,” the hymn is “Hallelujah, Praise Jehovah.” Since then, it has appeared in many hymnals, proving the popularity and enduring value of the hymn. The text has been attributed to Thomas Hanna Beveridge (1860), though without much certainty or authentication. It is written in the style of a 19th century gospel song, with music characterized by rollicking dotted rhythms, repeated phrases in the energetic refrain, and a simplistic chordal structure (basically just F, C, and B-flat chords). In fact, it is so joyfully energetic as it is sung that it has even been described as boisterous!
The music comes from William J. Kirkpatrick (1838-1921), born in Tyrone, Ireland to a schoolteacher and musician, Thomas Kirkpatrick and his wife, Elizabeth Storey. The family immigrated to Philadelphia on August 5, 1840, living first in Duncannon, Pensylvania. William did not accompany his parents on the initial immigration as he was too young and they wished to be settled before bringing him to America. They did, however, give birth to a daughter on the ship in transit. William was exposed to and given formal training in music at a very young age. In 1854, he moved to Philadelphia to study music and carpentry. It was there that he studied vocal music under Professor T. Bishop. Kirkpatrick was a versatile musician, playing the cello, fife, flute, organ, and violin. He joined the Harmonia and the Haydn Sacred Music Societies where he was exposed to many great composers. In 1855, he became involved in the Wharton Street Methodist Episcopal Church, serving the choir with his musical talent and teaching Sunday School.
Beginning in 1858, Kirkpatrick began working with A. S. Jenks, who helped him publish his first collection of hymns, “Devotional Melodies,” in 1859. His involvement with the Harmonia Society introduced him to another man, Dr. Leopold Meignen, under whose tutelage he devoted himself primarily to the study of music, focusing on theory and composition.
In 1861, William Kirkpatrick married his first wife. Not long after the marriage, he enlisted in the 91st Regiment of the Pennsylvania Volunteers as a Fife-Major. This lasted until October 1862, when under general orders, the position was terminated. He returned to Philadelphia and supported his wife by working in carpentry. Over the next 11 years, Kirkpatrick was elected lead organist for the Ebenezer Methodist Episcopal Church, studied the pipe organ, continued in vocal lessons, and began publishing more and more hymns. It was also during this time that he was introduced to John R. Sweney. They soon became partners in their musical careers. The death of Kirkpatrick’s wife in 1878 acted as a catalyst in his life to give up the trade and devote himself fully to music and composition.
Between 1880 and 1897, Sweeney and Kirkpatrick published 49 major books. It was also during this time that Kirkpatrick was given command over all of the music at Grace Methodist Episcopal church. He married again in 1893 and became a world traveler with his wife. Over the years he published close to 100 major works and many annual works such as anthems for Easter, Christmas, and children’s choirs.
William J. Kirkpatrick died on September 20, 1921. He told his wife that night that he had a tune running through his head and he wanted to write it down before he lost it. His wife retired to bed and awoke in the middle of the night to find that he was not there. She went to his study to find him, and when she did, he was slumped over on his desk, dead, without having recorded that song. He was interred in West Laurel Hill Cemetery near Philadelphia.
Kirkpatrick participated in many of the Camp Meetings the Methodist churches held. He often led the music portion of the meeting and enlisted the help of soloists and other musicians to perform for the attenders. During one of these meetings, he became saddened by his observation of the soloist, who would perform the required songs and then leave without staying to hear the preacher. William feared that this young man did not really know Christ and so he began to pray that God would somehow get a hold of the soloist’s heart. One evening while he was praying, a song began to form in his mind. He quickly jotted down the lyrics to go with the music and asked the soloist to sing the song that night. The lyrics of the song convicted the young man’s heart and he ended up staying and listening to the message. When the preacher gave the altar call at the end of the night, the soloist got up and went to the front of the tent and placed his trust in Jesus. The lyrics that so touched this young man, and many people since, are based on Luke’s account of Jesus’ parable of the Prodigal Son in Luke 15. “I’ve wandered far away from God, Now I’m coming home; The paths of sin too long I’ve trod, Lord, I’m coming home. Coming home, coming home, Never more to roam; Open now Thine arms of love, Lord, I’m coming home.” Among the many other hymns for which Kirkpatrick contributed music, these are some of the most notable.
- “A Wonderful Savior is Jesus My Lord”
- “Away in a Manger”
- “I Am Not Skilled to Understand”
- “Jesus Saves! (We Have Heard the Joyful Sound)”
- “Lead Me to Calvary”
- “My Faith Has Found a Resting Place”
- “’Tis So Sweet to Trust in Jesus”
This setting of Psalm 148, “Hallelujah, Praise Jehovah,” is a fine example of communicating the substance of the text, even though not in a metrical setting. It’s very easy to follow the stanzas of the hymn as they follow the verses of the Psalm in the biblical text. In addition, this is one of those Psalms in which the singer is not addressing the Lord, but is addressing the creation itself, calling on God’s works to rejoice in Him. What an amazing thought, that we should be the ones calling stars and angels and storms and birds and all mankind to praise the Lord!
Stanza 1 says that all the hosts of heaven should praise the Lord (Psalm 148:1-4). This includes animate beings (the vast army of angels that surround His throne) as well as the inanimate objects of the heavens of creation (sun, moon, and stars) and the waters above the sky (perhaps reflecting back on Genesis 1’s description of the earth existing between the waters above and the waters beneath, a geology that apparently changed after the flood).
Hallelujah, praise Jehovah, from the heavens praise His name;
praise Jehovah in the highest, all His angels, praise proclaim.
All His hosts, together praise Him, sun and moon and stars on high;
praise Him, O you heav’ns of heavens, and you floods above the sky.
Refrain:
The chorus (taken from Psalm 148:13) well concludes the preceding thoughts by saying that all the things mentioned previously should give praises to Jehovah, “for His name alone is high.” Once again, what a special experience for us to sing God’s own words back to Him in worship! The musical structure of the refrain is quite dramatic, with the three-fold expression, “and His glory is exalted,” repeated, each time with notes starting higher on the sale, reaching a powerful climax with the final phrase, “far above the earth and sky.”
Let them praises give Jehovah, for His name alone is high,
and His glory is exalted, and His glory is exalted,
and His glory is exalted far above the earth and sky.
Stanza 2 says that all the forces of nature should praise the Lord (Psalm 148:5-8). After calling all creation to praise the Lord, the Psalm moves through several diverse dimensions of nature. First are the seas and those creatures that dwell in those waters, which to biblical minds, represented a realm of danger and chaos. But here, the depths of the seas and the great creatures (“monsters”) that dwell therein are tamed and welcomed to heaven’s choir. Second are the forces of storms that impact the earth, “fire and hail and snow and vapors” – the lightning of thunderstorms, the hail that accompanies tornadoes, and the snow that blankets the forests – are all recruited to serve at God’s call to laud His name, even as they provide dimensions of blessings for us.
Let them praises give Jehovah, they were made at His command;
them forever He established, His decree shall ever stand.
From the earth O praise Jehovah, all you seas, you monsters all,
fire and hail and snow and vapors, stormy winds that hear His call. [Refrain]
Stanza 3 says that all forms of life on earth should praise the Lord (Psalm 148-9-12). First is plant life … “fruitful trees and cedars, hills and mountains high.” Next is animal life … “creeping things and beasts and cattle,” as well as birds flying in the heavens. Finally comes all human life in every station and age … “kings,” “princes,” “judges,” “young men and maidens, aged men and children small.”
All you fruitful trees and cedars, all you hills and mountains high,
creeping things and beasts and cattle, birds that in the heavens fly,
kings of earth and all you people, princes great, earth’s judges all,
praise His name, young men and maidens, aged men and children small. [Refrain]