[4] This psalm is a cornerstone in Christian theology, as it is cited as proof of the plurality of the Godhead and Jesus' supremacy as king, priest, and Messiah.

Well-known vespers settings are Monteverdi's Vespro della Beata Vergine (1610), and Mozart's Vesperae solennes de confessore (1780).

[10] However, the King James Version and many subsequent Christian translations[a] capitalize the second word "Lord", implying that it refers to Jesus.

[19] The Talmud (Nedarim 32a) and Midrash Tehillim[20] state that this psalm speaks about Abraham, who was victorious in battle to save his nephew Lot and merited priesthood.

[21] According to the Avot of Rabbi Natan (34:6) the psalm is speaking of the Jewish Messiah in the context of the Four Craftsmen in Zechariah's vision.

The Vulgate text of the psalm is part of the Latin liturgy for vespers, and there are numerous adaptations in sacral music, including by Georg Friedrich Händel (Dixit Dominus), Claudio Monteverdi (SV 206, SV 252–288), Johann Rosenmüller, Antonio Lotti, Antonio Vivaldi (RV 594, 595, 807), Alessandro Scarlatti, Wolfgang Amadeus Mozart (KV 193, 321, 339).

Nonconformist minister Matthew Henry said that this psalm is "pure gospel" and specifically refers to Jesus as the Messiah.

[25] A second point on which Jewish and Christian interpretations differ is the language in verse 4, which describes a person who combines the offices of kingship and priesthood, as exemplified by the non-Jewish king Melchizedek.

[23] Spurgeon rejects this interpretation, stating that in ancient Israel, no one held the offices of king and priest simultaneously.

[16] Numerous scholars have suggested that the Hasmonean dynasty used Psalm 110's priest-king combination as a justification for their rulers (starting with Simon Thassi) taking the simultaneous roles of High Priest and monarch (i.e., ethnarch and later basileus).

[32] Oliver Cromwell reportedly had his army sing this psalm before going out to battle against Scotland; it was his "favorite fighting song".

Because this Psalm is the first in the Office of Sunday Vespers, its Latin text, which begins with Dixit Dominus, has particular significance in music.

Claudio Monteverdi composed a choral setting in his Vespro della Beata Vergine in 1610 and again in his Selva morale e spirituale in 1640.

Marianna von Martines set Dixit Dominus in 1773, for her entry into the Academia Filharmonica di Bolognia.