Psalm 18, which has moved from confidence in God to cries for justice now ends on a high note; a celebration of victory and deliverance by the sovereign hand of God. It also ends with a distinctly Messianic crescendo, as the final verses anticipate the conquest of the kingdom and gospel of Jesus in all the world and to all the nations.
For this reason, while Psalm 18:43-50 describes David in a limited human sense, it can also be seen—and I think is best seen—as a song of and about the Messiah. I think that when David finished writing this song, he may well have paused and said: “This is about me—but only in part. There must be Another of which it speaks; One who is truly blameless who will rule every single nation there is, before whom every enemy will come and worship.” In these verses we see Christ delivered from hateful attacks and made Head of the nations. The Father has exalted him to reign until every enemy bows before him either in saving faith or in forced submission (Philippians 2:9-11). In the end he will be praised in every nation and by every nation for he, and he alone, is Lord of all.
Such exalted themes are worthy of soaring music. Which explains my choice of Ode to Joy
(“Joyful, Joyful, We Adore Thee”), an adaptation of Beethoven’s Ninth Symphony
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