This psalm has been called Luther's Psalm. It was that which he was accustomed to sing in trouble. When the times were dark; when the enemies of truth appeared to triumph; when disaster seemed to come over the cause in which he was engaged, and the friends of the Reformation were disspirited, disheartened, and sad, he was accustomed to say to his fellow-laborers, "Come, let us sing the 46th Psalm."
The author of the psalm is unknown. It is not ascribed to David, but to "the Sons of Korah," and there are no indications in the psalm that David was the author, or that it refers to his times. There is reason to believe that most of the psalms attributed to the "Sons of Korah" were composed subsequent to the time of David.
The title of the psalm is, "To the chief Musician, for the Sons of Korah, a song upon Alamoth." On the phrase "To the chief Musician," see the notes at the title to Psalm 4:1-8. On the phrase "For the Sons of Korah," see the notes at the title to Psalm 42:1-11. The word "song" in the title occurs also in that to Psalm 30:1-12. (see the notes at that title), and also in the titles to Ps. 45; Psalm 48:1-14; Psalm 65:1-13; Ps. 66; Psalm 67:1-7; Ps. 68; Psalm 75:1-10; Psalm 76:1-12; Ps. 83; Psalm 87:1-7; Ps. 88; Psalm 92:1-15; Psalm 108:1-13; and Ps. 120-134 inclusive. Nothing seems to be indicated by it in regard to the nature and character of the psalms where it is found. The word "Alamoth" occurs only here and in 1-Chronicles 15:20, where it is found in connection with the mention of certain singers or musicians, evidently referring to some kind of musical instruments which those who are mentioned used; "so the singers" Psalm 46:1-11 :19, "Heman, Asaph, and Ethan, to sound with cymbals of brass; and Zechariah, and Aziel, and Shemiramoth, etc., with psalteries on Alamoth." The word from which this is derived - עלמה ‛almâh - means properly a "virgin," or a youthful spouse (compare the notes at Isaiah 7:14); and the phrase here, and in 1-Chronicles 15:20, would seem properly to denote "after the manner of virgins;" that is, with the female voice, answering to our treble or soprano, as opposed to the deep bass or baritone voice of men. Then the reference might be to some musical instruments that were suited to accompany that voice, or whose tones resembled that voice, as distinguished from cymbals, trumpets, harps, etc. The form of the instrument is now unknown.
It is not possible now to ascertain the occasion on which the psalm was written. It was evidently in view of trouble, or of some impending calamity; apparently some national calamity, or some time when the nation was in danger, and when it was felt that their only refuge - their last hope - was in God. It would seem to be not improbable that the psalm was composed when wars were ragtag abroad in the earth; when the nations were convulsed; and when Jerusalem itself was besieged and threatened with ruin. The main thought Of the psalm - the central idea in it - is, that, amidst these general and far-spreading agitations and convulsions among the nations of the earth, the people of God were safe. They had nothing to fear, even though those convulsions and agitations should be multiplied and increased; even though they should be carried so far that the very foundations of the earth should be shaken, and the mountains removed and carried into the midst of the sea.
There was to them an Infinite Protector; there were unfailing sources of peace; they had nothing to dread. It was their duty, therefore, to be calm, still, confiding, for God would be exalted among the nations of the earth. It is possible that the psalm refers to the invasion of the land of Israel by Sennacherib, and to the miraculous destruction of his host, as recorded in 2 Kings 19 and Isaiah. 36; 37. All the circumstances in that invasion - the tumul tuous hosts summoned for the war Isaiah 36:2; the overthrow of numerous nations by their armies Isaiah 36:18-21; the siege of Jerusalem itself Isaiah 36:2; the confidence of Hezekiah and of his people in God when the city was besieged Isaiah 37:14-20; and the final overthrow of the Assyrian host by the angel of the Lord Isaiah 37:36, agree well with all the statements in the psalm, and seem well to "illustrate" the psalm, though it be impossible now to determine with precise accuracy to what particular historical occasion it has reference. The circumstances in that invasion, however, are so similar to those supposed in the psalm, that, perhaps, we shall not be likely to err in supposing that the psalm "had" reference to that occasion.
The psalm is divided into three parts or strophes, the close of each of which is indicated by the word "Selah," in Psalm 46:3, Psalm 46:7,Psalm 46:11.
I. The first strophe, Psalm 46:1-3. In this there is the general statement that God is a refuge and strength, and that the people of God would have nothing to fear though the earth should be removed, and though the raging waters of the ocean should shake the very mountains.
II. The second, Psalm 46:4-7. In this there is the statement that the people of God had an unfailing source of consolation, like an ever-flowing river, making glad the city of God; that God himself was in that city as its Protector; that though the nations raged, and the kingdoms were moved, he had only to utter his voice and even the earth would be dissolved; that they had nothing to fear while the God of hosts - the God of mightier armies than those which had invaded the land - was with them.
III. The third strophe, Psalm 46:8-11. In this we have a reference to the mighty power of God as actually put forth in the desolations, which "he" had made in the earth. He had shown that power by making wars to cease; by breaking the bow, and cutting the spear in sunder; and by causing the warchariot to be burned in the fire. They had, therefore, nothing to fear while such a God was their Protector, and it was their duty calmly to confide in him, and leave the whole issue with him, for it was his purpose to exalt himself among the nations of the earth.

The confidence of believers in God, Psalm 46:1-3. The privileges of the Church, Psalm 46:4, Psalm 46:5; her enemies, and her helper, Psalm 46:6, Psalm 46:7. God's judgments tn the earth, Psalm 46:8, Psalm 46:9. He will be exalted among the heathen, and throughout the earth, Psalm 46:10, Psalm 46:11.
The title in the Hebrew is, "To the chief musician for the sons of Korah; an ode upon Alamoth, or concerning the virgins:" possibly meaning a choir of singing girls. Some translate the word secrets or mysteries; and explain it accordingly. Calmet thinks it was composed by the descendants of Korah, on their return from the Babylonian captivity, when they had once more got peaceably settled in Jerusalem; and that the disturbances to which it refers were those which took place in the Persian empire after the death of Cambyses, when the Magi usurped the government. Many other interpretations and conjectures are given of the occasion of this fine ode. Houbigant thinks it was made on occasion of an earthquake, which he supposes took place on the night that all Sennacherib's army was destroyed, Dr. Kennicott thinks that alamoth means a musical instrument. All I can pretend to say about it is, that it is a very sublime ode; contains much consolation for the Church of God; and was given by the inspiration of his Holy Spirit.

INTRODUCTION TO PSALM 46
To the chief Musician for the sons of Korah, A Song upon Alamoth. The word "Alamoth" is thought by some, as Aben Ezra, to be the beginning of a song, to which this psalm was set; and by others a high tune, such as virgins express; and by others the name of musical instruments, as Jarchi and Kimchi; which seems most likely, since it is mentioned with other instruments of music in 1-Chronicles 15:19; and may not unfitly be rendered "virginals", from the sound of them being like the shrill voice of virgins, which this word signifies; though others choose to render it "of hidden things", (s), making it to design the subject matter of the psalm, the secret counsels and purposes of God, both in a way of love and grace to his people, and of judgment to his enemies. Some think this psalm was occasioned by the victories which David obtained over the Ammonites and Moabites, and other neighbouring countries; and others are of opinion that it was penned on account of the siege of Jerusalem by Sennacherib being raised, in the times of Hezekiah: but it seems rather to be a prophecy of the church in Gospel times, and is applicable to any time of confusion and distress the nations of the world may be in through any kind of calamity, when those that trust in the Lord have no reason in the least to be afraid. Kimchi says this psalm belongs to future times; either to the gathering of the captives, or to the war of Gog and Magog; to which also R. Obadiah refers it, and Jarchi interprets it of time to come; according to the Targum it was written by the sons of Korah, when their father was hid from them, and they were delivered.
(s) , , Sept. "pro arcanis", V. L.

(Psalm 46:1-5) Confidence in God.
(Psalm 46:6-11) An exhortation to behold it.

A Sure Stronghold Is Our God
(Note: "Ein feste Burg is unser Gott.")
When, during the reign of Jehoshaphat, the Moabites, Ammonites, and Edomites (more particularly the Maonites, for in 2-Chronicles 20:1 it is to be read מהמּעוּנים) carried war into the kingdom of David and threatened Jerusalem, the Spirit of the Lord came upon Jahaziכl the Asaphite in the temple congregation which the king had called together, and he prophesied a miraculous deliverance on the morrow. Then the Levite singers praised the God of Israel with jubilant voice, viz., singers of the race of Kohaath, and in fact out of the family of Korah. On the following day Levite singers in holy attire and with song went forth before the army of Jehoshaphat. The enemy, surprised by the attack of another plundering band of the sons of the desert, had turned their weapons against one another, being disbanded in the confusion of flight, and the army of Jehoshaphat found the enemy's camp turned into a field of corpses. In the feast of thanksgiving for victory which followed in Emek ha-Beracha the Levite singers again also took an active part, for the spoil-laden army marched thence in procession to Jerusalem and to the temple of Jahve, accompanied by the music of the nablas, citherns, and trumpets. Thus in the narrative in 2-Chronicles 22:1-12 does the chronicler give us the key to the Asaphic Ps 83 (76?) and to the Korahitic Ps 46-48. It is indeed equally admissible to refer these three Korahitic Psalm to the defeat of Sennacherib's army under Hezekiah, but this view has not the same historical consistency. After the fourteenth year of Hezekiah's reign the congregation could certainly not help connecting the thought of the Assyrian catastrophe so recently experienced with this Psalm; and more especially since Isaiah had predicted this event, following the language of this Psalm very closely. For Isaiah and this Psalm are remarkably linked together.
Just as Psalm 2:1-12 is, as it were, the quintessence of the book of Immanuel, Isaiah 7:1, so is Psalm 46:1-11 of Isaiah. 33, that concluding discourse to Isaiah 28:1, which is moulded in a lyric form, and was uttered before the deliverance of Jerusalem at a time of the direst distress. The fundamental thought of the Psalm is expressed there in Psalm 46:2 in the form of a petition; and by a comparison with Isaiah 25:4. we may see what a similarity there is between the language of the psalmist and of the prophet. Isaiah 33:13 closely resembles the concluding admonition; and the image of the stream in the Psalm has suggested the grandly bold figure of the prophet in v. 21, which is there more elaborately wrought up: "No indeed, there dwells for us a glorious One, Jahve - a place of streams, of canals of wide extent, into which no fleet of rowing vessels shall venture, and which no mighty man-of-war shall cross." The divine determination expressed in ארוּם we also hear in Isaiah 33:10. And the prospect of the end of war reminds us of the familiar prediction of Isaiah (Isaiah 2), closely resembling Micah's in its language, of eternal peace; just as Psalm 46:8, Psalm 46:11 remind us of the watch-word עמנו אל in Isaiah 7:1. The mind of Isaiah and that of Jeremiah have, each in its own peculiar way, taken germs of thought (lit., become impregnated) from this Psalm.
We have already incidentally referred to the inscribed words על־עלמות, on Psalm 6:1. Bttcher renders them ad voces puberes, "for tenor voices," a rendering which certainly accords with the fact that, according to 1-Chronicles 15:20, they were accustomed to sing בּנבלים על־עלמות, and the Oriental sounds, according to Villoteau (Description de l'Egypte), correspond aux six sons vers l'aigu de l'octave du medium de la voix de tenor. But עלמות does not signify voces puberes, but puellae puberes (from עלם, Arab. glm, cogn. חלם, Arab. ḥlm, to have attained to puberty); and although certainly no eunuchs sang in the temple, yet there is direct testimony that Levite youths were among the singers in the second temple;
(Note: The Mishna, Erachin 13b, expressly informs us, that whilst the Levites sang to the accompanying play of the nablas and citherns, their youths, standing at their feet below the pulpit, sang with them in order to give to the singing the harmony of high and deep voices (תּבל, condimentum). These Levite youths are called צערי or סועדי הלויים, parvuli (although the Gemara explains it otherwise) or adjutores Levitarum.)
and Ps 68 mentions the עלמות who struck the timbrels at a temple festival. Moreover, we must take into consideration the facts that the compass of the tenor extends even into the soprano, that the singers were of different ages down to twenty years of age, and that Oriental, and more particularly even Jewish, song is fond of falsetto singing. We therefore adopt Perret-Gentil's rendering, chant avec voix de femmes, and still more readily Armand de Mestral's, en soprano; whereas Melissus' rendering, "upon musical instruments called Alamoth (the Germans would say, upon the virginal)," has nothing to commend it.