MARTIN LUTHER
When we think of the Lutheran hymnody from the historical point of view, we must dwell, if but briefly, on its classical formation in the motherland of the Lutheran Church, Germany. Something permanent and peculiarly typical is present in the hymnody of the Reformation days.
With respect to Luther himself, his best hymns are our most precious possession. “Ein’ feste Burg” is known the world over. Christians everywhere are familiar with it.
At first Luther did not seem to be aware of his poetical gifts. It was not until in July, 1523, when two Belgian martyrs of the Lutheran Church had been burnt at the stake, that Luther’s first poetical product came into existence—in the folk song style. This song, “Ein neues Lied wir heben an,” spread very rapidly throughout Germany. Soon thereafter came two hymns, one about penance, and one about faith: “Out of the depths I cry to Thee” and “Dear Christians one and all rejoice.” They were supplied with tunes and spread very rapidly throughout the land.
1524 was the hymn-year of the Reformation. 24 of Luther’s 37 hymns appeared in various publications. “Ein’ feste Burg” seems to belong to the year 1527. Luther’s musical assistants were Conrad Rupf and Johann Walther. It is said that while these two musicians sat at the table, busy with the writing of the music, Luther walked about the large room and tried the tunes, singing them, or playing them on his flute. When we stop to consider what was then formed and created, we see clearly that this is a historical situation of epoch-making significance. Luther at the church door in Wittenberg, Luther at Worms, at Wartburg, in his home; so also Luther with his musical friends, creating or remodelling poetry and music for the new Church—a central figure in the history of the Church.
To characterize Luther’s hymns is no easy task, because of their richness. Luther’s soul possessed an enormous span of faith and spiritual life. It experienced the mediaeval thunder-tones of judgment as well as the brightness of the Gospel. Compare, for example, the two hymns, “Though in midst of life we be” and “Dear Christians one and all rejoice.” Compare the following stanza from “Ein feste Burg,”
The Word they still shall let remain,
Nor any thanks have for it;
He’s by our side upon the plain
With His good gifts and Spirit.
Take they then our life,
Goods, fame, child, and wife,
When their worst is done,
They yet have nothing won:
The Kingdom ours remaineth.
with one of the stanzas from “Vom Himmel hoch da komm ich her”,
Ah, dearest Jesus, Holy Child,
Make Thee a bed, soft, undefiled,
Here in my poor heart’s inmost shrine,
That I may evermore be Thine.
It is obvious that in “Dear Christians one and all rejoice”—Nun freut euch, lieben Christen g’mein—we have the outline of Luther’s entire experience of faith, from the moment he felt himself condemned by God till he could triumph in songs of praise. This hymn forms a very clear parallel to his exposition of the Second Article.
Most of Luther’s hymns ought to be found in our English Lutheran hymn books. They are noble church hymns—all Lutherans should know them. The Church Militant is one of Luther’s chief subjects. Note his great heroic hymn “Ein feste Burg.” Note also one of his last hymns:
Erhalt uns, Herr, bei deinem Wort
Und steure deiner Feinde Mord,
(Original: und steur des Pabsts und Tuerken Mord).
Die Jesum Christum, deinen Sohn,
Stuerzen wollen von deinem Thron.
Lord, keep us steadfast in Thy Word;
Curb those who fain by craft or sword
Would wrest the kingdom from Thy Son,
And set at naught all He hath done.
Powerful and courageous Lutheran hymns! Ach Gott, vom Himmel sieh darein—Look down, O Lord, from heaven behold—seems to be as valid against the disintegrating subjectivism and super-culture of our time as against the age in which it was born, which dissolved God’s kingdom and divine will at pleasure and put uncontrolled human will in their place. Whether this refers to clericalism and papism or modern culture and mass dominion, makes little or no difference; the result in both cases is destruction.
Nearly all of Luther’s hymns close with words of praise—note this consciousness of communion with Christ. Take for example the last stanza of “Christ lag in Todesbanden”:
Then let us feast this Easter day
On the true Bread of heaven;
The Word of grace hath purged away
The old and wicked leaven:
Christ alone our souls will feed;
He is our meat and drink indeed;
Faith lives upon no other!
Alleluia!
We recommend a careful study of “Luther’s Hymns” by James F. Lambert.