three chief musicians or bandmasters (Capellenmeister), Heman, Asaph, and Ethan, with the cymbals, not the psaltery and lute players belonging to the second rank. The conducting must therefore be expressed by להשׁמיע, and this word must mean “in order to give a clear tone,” i.e., to regulate the tune and the tone of the singing, while לנצּח signifies “to take the lead in playing;” cf. Del. on Psa 4:1. This word, moreover, is probably not to be restricted to the singers with the lutes, the third choir, but must be held to refer also to the second choir. The meaning then will be, that Heman, Asaph, and Ethan had cymbals to direct the song, while the other singers had partly psalteries, partly lutes, in order to play the accompaniment to the singing. The song of these two choirs is moreover distinguished and defined by עלמות על and השּׁמינית על. These words specify the kind of voices; עלמות על after the manner of virgins, i.e., in the soprano; השּׁמינית על, after the octave, i.e., in bass - al ottava bassa. See Del. on Psa 6:1; Psa 46:1. In 1Ch 15:22-24 the still remaining priests who were engaged in the solemn procession are enumerated.
Verses 22-24
1Ch 15:22-24 “Chenaniah, the prince of the Levites, for the bearing, teacher in bearing; for he was instructed in it.” Since Chenaniah does not occur among the six princes of the Levites in 1Ch 15:5-10, and is called in 1Ch 15:27 המּשּׂא השׂר, we must here also join בּמשּׂא (as most editions punctuate the first במשׂא, while according to Norzi בּמּשּׂא is the right reading even in the first case) closely with שׂר־הלויּם, with the meaning that Chenaniah was captain of the Levites who had charge of the bearing of the ark, a chief of the Levites who bore it. The word משּׂא is,however, very variously interpreted. The lxx have ἄρχων τῶν ᾠδῶν, and the Vulgate, prophetiae praeerat ad praecinendam melodiam; whence Luther translates: the master in song to teach them to sing. This translation cannot, however, be linguistically upheld; the word משּׂא means only the bearing of the burden (Num 4:19, Num 4:27, etc.; 2Ch 35:3), and a prophetical utterance of an oppressive or threatening character (Isa 13:1, and Isa 15:1, etc.). But from this second signification neither the general meaning prophetia, nor, if we wish to go back upon the קול נשׂא, to raise the voice, the signification master of song, supremus musicus (Lavat.), or qui principatum tenebat in cantu illo sublimiore (Vatabl.), can be derived. The meaning prophetia, moreover, does not suit the context, and we must consequently, with Bertheau and others, hold fast the signification of bearing. We are determined in
