October 31, 2018 (Wednesday)
(From the Cambridge Bible Commentary): “Moreover the strangers … will I bring to my holy mountain, and make them joyful in my house of prayer … for my house shall be called an house of prayer for all the peoples” (Isaiah 56:6-7). The invitation of this Psalm corresponds to the prediction of the prophet: and the series of anthems for the dedication of the restored Temple which begins in Psalms 95 with a call to Israel to worship ends fitly with a call to the whole earth to join in Israel’s worship, acknowledging Jehovah as the only true God, Whose claims upon the allegiance of the whole world have been attested by His recent mercy to Israel. Psalm 100:1-2; Psalm 100:4, are an echo of Psalm 95:1-2; Psalm 100:3 of Psalm 95:7; and parallels to most of the language are to be found in the other Psalms of this group.
The liturgical history of this Psalm is of special interest. The title should probably be rendered A Psalm for the thankoffering (R.V. marg.), rather than simply A Psalm of thanksgiving (R.V.). It refers to the use of the Psalm in the Second Temple in connexion with the sacrifices of thanksgiving (Leviticus 7:11 ff.). For similar notices see the titles of Psalms 38, 70, 92. The general character of its contents makes it probable that it was not specially written for the purpose, but adopted on account of Psalm 100:4.
From ancient times it has been used in the daily service of the Synagogue, except upon certain festivals. It was used in the early morning service of Lauds, and at the revision of the Prayer Book in 1552 it was added as an alternative for the Benedictus. The metrical version of it, universally known and loved as the “Old Hundredth” (i.e from the old Version of the Psalms by Sternhold and Hopkins), first appeared in the Psalter published in London by John Daye, 1560-1, and in the Anglo-Genevan Psalter, printed at Geneva in 1561. Its author is believed to have been William Kethe, a native of Scotland, who was forced to fly during the Marian persecutions, and joined the exiles at Geneva in 1556. The tune is found in the French-Genevan Psalter of 1551 as the tune to Psalms 134. See Julian’s Dictionary of Hymnology, pp. 43, 44.
New International Version (NIV)
A psalm. For giving grateful praise.
1 Shout for joy to the Lord, all the earth.
2 Worship the Lord with gladness;
come before him with joyful songs.
3 Know that the Lord is God.
It is he who made us, and we are his;
we are his people, the sheep of his pasture.
4 Enter his gates with thanksgiving
and his courts with praise;
give thanks to him and praise his name.
5 For the Lord is good and his love endures forever;
his faithfulness continues through all generations.
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Author: William Kethe
Tune: OLD HUNDREDTH
1 All people that on earth do dwell,
sing to the LORD with cheerful voice;
Him serve with mirth, His praise forth tell;
come ye before Him and rejoice.
2 Know that the LORD is God indeed;
without our aid He did us make;
we are His flock, He doth us feed,
and for His sheep He doth us take.
3 O enter then His gates with praise,
approach with joy His courts unto;
praise, laud, and bless His name always,
for it is seemly so to do.
4 Because the LORD our God is good,
His mercy is forever sure;
His truth at all times firmly stood
and shall from age to age endure.
5 Praise God from whom all blessings flow;
praise Him, all creatures here below;
praise Him above, ye heav’nly host;
praise Father, Son, and Holy Ghost!
The Old Hundredth was part of The Genevan Psalter, which was compiled over a number of years in the Swiss city of Geneva, a center of Protestant activity during the Reformation, in response to the teaching of John Calvin that congregational singing of psalms in the vernacular language is a foundational aspect of church life. This contrasted with the prevailing Catholic practice at the time in which sacred texts were chanted in Latin by the clergy only. Calvinist musicians including Bourgeois supplied many new melodies and adapted others from sources both sacred and secular. The final version of the psalter was completed in 1562. Calvin intended the melodies to be sung in unison during church services, but harmonized versions were provided for singing at home.
You will probably recognize the tune as the Doxology in our hymnals.