He also translated and reorganised the chief parts of the Mass; thus the Kyrie became “Gott Vater in Ewigkeit,” the Gloria, “Allein Gott in der Höh sei Ehr,” the Creed, “Wir glauben all an einen Gott,” and the Agnus Dei, “Christe du Lamm Gottes.”
The Preface, the Benedictus, and Hosanna were left in Latin.
Besides the chorales, he instituted the motet for the choir, which was accompanied ordinarily by the organ, but on high festivals by cornets and trombones. The style of the motets was that of Palestrina and Orlando Lasso, and the texts were chosen from the Bible, especially the Psalms. On days of humiliation, a long Litany and several Latin hymns were sung instead of the Gloria. In Holy Week and on Palm Sunday and Good Friday, instead of the Epistle, the Story of the Passion was sung antiphonally from one of the gospels by two priests before the altar.
But several inconveniences gradually arose. In spite of Luther’s urgent order, “A priest must be able to sing,” there were, in course of time, only a few who could, and those sang badly—most priests could not even keep to a single note.
Let us imagine an unbroken monotone or monotonous chant badly intoned, of the length of perhaps over one hundred verses; and the service, being lengthened by the addition of hymns, &c., occupied sometimes from four to five hours, all in one wearisome unison, and entirely deprived of the variations which gave life to the Catholic service. Moreover if anyone came late or left early he was severely reprimanded.
The German Mass
Luther said, “We arrange the German Mass as well as we can; our successors will improve it.” But for a hundred years after his death men held most conscientiously to the letter of his sayings, and when alterations were made, they were done so sparingly that they were of little effect. The Latin songs were almost all assigned to other services, e.g. the “Rex Christe” was assigned to the vespers, the “Crux fidelis” to Thursday in Holy Week, and the singing of the Passion before the altar was changed to a mere reading from the pulpit.
But when read, only a very small portion of the congregation either heard or understood it in a large and well-filled church; and soon there arose disorders, especially when the old Protestant strictness of discipline began to decline, and the Thirty Years’ War had produced much roughness in manners. A way out of the difficulty was found, which must be mentioned, though it only lasted a few years. It was certainly conceived in accordance with Luther’s principles, but it was soon found to be entirely impracticable. The congregation were themselves to sing the Passion story. For this purpose a song was composed by Paul Stockmann (“Jesu Leiden, Pein und Tod”) containing all the chief points in the story. Not only did the composition prove entirely unsatisfactory in itself, but can one imagine four and thirty strophes of eight lines each being sung straight away to one of the dullest and most monotonous melodies that was ever composed!
During this period, however, Figural music had, outside the Church, been gradually developing in a freer and more easily appreciated manner, and was therefore becoming widely cultivated.
Introduction of Figural Music