INTRODUCTION

A fit motto for the history of the Reformation would be those words out of the history of the Day of Pentecost, "How hear we, every man in our own tongue wherein we were born….the wonderful works of God!" The ruling thought of the pre-reformation period was not more the maintenance of one Holy Roman Church than of one Holy Roman Empire, each of which was to comprehend all Christendom. The language of the Roman Church and Empire was the sacred language in comparison with which the languages of men's common speech were reckoned common and unclean. The coming-in of the Reformation was the awakening of individual life, by enforcing the sense of each man's direct responsibility to God; but it was equally the quickening of a true national life. In the light of the new era, the realization of the promise of the oneness of the Church was no longer to be sought in the universal dominance of a hierarchical corporation; nor was the "mystery" proclaimed by Paul, that "the nations were fellow-heirs and of one body," to be fulfilled in the subjugation of all nations to a central potentate. According to the spirit of the Reformation, the One Church was to be, not a corporation, but a communion – the communion of saints; and the unity of mankind, in its many nations, was to be a unity of the spirit in the bond of mutual peace.

The two great works of Martin Luther were those by which he gave to the common people a vernacular Bible and vernacular worship, that through the one, God might speak directly to the people; and in the other, the people might speak directly to God. Luther's Bible and Luther's Hymns gave life not only to the churches of the Reformation, but to German nationality and the German language.Concerning the hymns of Luther the words of several notable writers are on record, and are worthy to be prefixed to the volume of them.

Says Spangenberg, yet in Luther's life-time, in his Preface to the Cithara Lutheri, 1545: "One must certainly let this be true, and remain true, that among all Mastersingers from the days of the Apostles until now, Luther is and always will be the best and most accomplished; in whose hymns and songs one does not find a vain or needless word. All flows and falls in the sweetest and neatest manner, full of spirit and doctrine, so that his every word gives outright a sermon of his own, or at least a singular reminiscence. There is nothing forced, nothing foisted in or patched up, nothing fragmentary. The rhymes are easy and good, the words choice and proper, the meaning clear and intelligible, the melodies lovely and hearty, and in summa all is so rare and majestic, so full of pith and power, so cheering and comforting, that, in sooth, you will not find his equal, much less his master."¹

The following words have often been quoted from Samuel Taylor Coleridge:

"Luther did as much for the Reformation by his hymns as by his translation of the Bible. In Germany the hymns are known by heart by every peasant; they advise, they argue from the hymns, and every soul in the church praises God like a Christian, with words which are natural and yet sacred to his mind."

A striking passage in an article by Heine in the Revue des Deux Mondes for March, 1834, is transcribed by Michelet in his Life of Luther:

"Not less remarkable, not less significant than his prose works, are Luther's poems, those stirring songs which, as it were, escaped from him in the very midst of his combats and his necessities like a flower making its way from between rough stones, or a moonbeam gleaming amid dark clouds. Luther loved music; indeed, he wrote treatises on the art. Accordingly his versification is highly harmonious, so that he may be called the Swan of Eisleben. Not that he is by any means gentle or swan-like in the songs which he composed for the purpose of exciting the courage of the people. In these he is fervent, fierce. The hymn which he composed on his way to Worms, and which he and his companion chanted as they entered that city,² is a regular war-song. The old cathedral trembled when it heard these novel sounds. The very rooks flew from their nests in the towers. That hymn, the Marseillaise of the Reformation, has preserved to this day its potent spell over German hearts."

The words of Thomas Carlyle are not less emphatic, while they penetrate deeper into the secret of the power of Luther's hymns:

"The great Reformer's love of music and poetry, it has often been remarked, is one of the most significant features in his character. But indeed if every great man is intrinsically a poet, an idealist, with more or less completeness of utterance, which of all our great men, in these modern ages, had such an endowment in that kind as Luther? He it was, emphatically, who stood based on the spiritual world of man, and only by the footing and power he had obtained there, could work such changes on the material world. As a participant and dispenser of divine influence, he shows himself among human affairs a true connecting medium and visible messenger between heaven and earth, a man, therefore, not only permitted to enter the sphere of poetry, but to dwell in the purest centre thereof, perhaps the most inspired of all teachers since the Apostles. Unhappily or happily, Luther's poetic feeling did not so much learn to express itself in fit words, that take captive every ear, as in fit actions, wherein, truly under still more impressive manifestations, the spirit of spheral melody resides and still audibly addresses us. In his written poems, we find little save that strength of on 'whose words,' it has been said, 'were half-battles'³– little of that still harmony and blending softness of union which is the last perfection of strength – less of it than even his conduct manifested. With words he had not learned to make music – it was by deeds of love or heroic valor that he spoke freely. Nevertheless, though in imperfect articulation, the same voice, if we listen well, is to be heard also in his writings, in his poems. The one entitled Ein' Feste Burg, universally regarded as the best, jars upon our ears; yet there is something in it like the sound of Alpine avalanches, or the first murmur of earthquakes, in the very vastness of which dissonance a higher unison is revealed to us. Luther wrote this song in times of blackest threatenings, which, however, could in no sense become a time of despair. In these tones, rugged and broken as they are, do we hear the accents of that summoned man, who answered his friends' warning not to enter Worms, in this wise: – 'Were there as many devils in Worms as these tile roofs, I would on'; of him who, alone in that assemblage before all emperors and principalities and powers, spoke forth these final and forever memorable words, – 'It is neither safe nor prudent to do aught against conscience. Till such time as either by proofs from holy Scripture, or by fair reason or argument, I have been confuted and convicted, I cannot and will not recant. Here I stand – I cannot do otherwise – God be my help, Amen.' It is evident enough that to this man all popes, cardinals, emperors, devils, all hosts and nations were but weak, weak as the forest with all its strong trees might be to the smallest spark of electric fire."

In a very different style of language, but in a like strain of eulogy, writes Dr. Merle d'Aubigne, in the third volume of his History of the Reformation: "The church was no longer composed of priests and monks; it was now the congregation of believers. All were to take part in worship, and the chanting of the clergy was to be succeeded by the psalmody of the people. Luther, accordingly, in translating the psalms, thought of adapting them to be sung by the church. Thus a taste for music was diffused throughout the nation. From Luther's time, the people sang; the Bible inspired their songs. Poetry received the same impulse. In celebrating the praises of God, the people could not confine themselves to mere translations of ancient anthems. The souls of Luther and of several of his contemporaries, elevated by their faith to thoughts the most sublime, excited to enthusiasm by the struggles and dangers by which the church at its birth was unceasingly threatened, inspired by the poetic genius of the Old Testament and by the faith of the New, ere long gave vent to their feelings in hymns, in which all that is most heavenly in poetry and music was combined and blended. Hence the revival, in the sixteenth century, of hymns such as in the first century used to cheer the martyrs in their sufferings. We have seen Luther, in 1523, employing it to celebrate the martyrs at Brussels; other children of the Reformation followed his footsteps; hymns were multiplied; they spread rapidly among the people, and powerfully contributed to rouse it from sleep."

It is not difficult to come approximately at the order of composition of Luther's hymns. The earliest hymn-book of the Reformation – if not the earliest of all printed hymn-books – was published at Wittenberg in 1524, and contained eight hymns, four of them from the pen of Luther himself; of the other four not less than three were by Paul Speratus, and one of these three, the hymn Es ist das Heil, which caused Luther such delight when sung beneath his window by a wanderer from Prussia.⁴ Three of Luther's contributions to this little book were versions of Psalms – the xii, xiv, and cxxx – and the fourth was that touching utterance of personal religious experience, Nun fruet euch, lieben Christen g'mein. But the critics can hardly be mistaken in assigning as early a date to the ballad of the Martyrs of Brussels. Their martyrdom took place July 1, 1523, and the "New Song" must have been inspired by the story as it was first brought to Wittenberg, although it is not found in print until the Enchiridion, which followed the Eight Hymns, later in the same year, from the press of Erfurt, and contained fourteen of Luther's hymns beside the four already published.

In the hymn-book published in 1525 by the composer Walter, Luther's friend, were six more of the Luther hymns. And in 1526 appeared the "German Mass and Order of Divine Service," containing "the German Sanctus," a versification of Isaiah vi. Of the remaining eleven, six appeared first in the successive editions of Joseph Klug's hymn-book, Wittenberg, 1535 and 1543.It is appropriate to the commemorative character of the present edition that in it the hymns should be disposed in chronological order.

The TUNES which are here printed with the hymns of Luther are of those which were set to them during his lifetime. Some of them, like the hymns to which they were set, are derived from the more ancient hymnody of the German and Latin churches. Others, as the tunes Vom Himmel hoch, Ach Gott vom Himmel, and Christ unser Herr zum Jordan kam, are conjectured to have been originally secular airs. But that many of the tunes that appeared simultaneously and in connection with Luther's hymns were original with Luther himself, there seems no good reason to doubt. Luther's singular delight and proficiency in music are certified by a hundred contemporary testimonies. His enthusiasm for it overflows in his Letters and his Table Talk. He loved to surround himself with accomplished musicians, with whom he would practise the intricate motets of the masters of that age; and his critical remarks on their several styles are on record. At least one autograph document proves him to have been a composer of melodies to his own words: one may see, appended to von Winterfeld's fine quarto edition of Luther's hymns (Leipzig, 1840) a fac-simile of the original draft of Vater Unser, with a melody sketched upon a staff of five lines, and then cancelled, evidently by hand practised in musical notation. But perhaps the most direct testimony to his actual work as a composer is found in a letter from the composer John Walter, capellmeister to the Elector of Saxony, written in his old age for the express purpose of embodying his reminiscences of his illustrious friend as a church-musician.

"It is to my certain knowledge," writes Walter, "that that holy man of God, Luther, prophet and apostle to the German nation, took great delight in music, both in choral and in figural composition. With whom I have passed many a delightful hour in singing; and oftentimes have seen the dear man wax so happy and merry in heart over the singing as that it was well-nigh impossible to weary or content him therewithal. And his discourse concerning music was most noble.

"Some forty years ago, when he would set up the German Mass at Wittenberg, he wrote to the Elector of Saxony and Duke Johannsen, of illustrious memory, begging to invite to Wittenberg the old musician Conrad Rupff and myself, to consult with him as to the character and the proper notation of the Eight Tones; and he finally himself decided to appropriate the Eighth Tone to the Epistle and the Sixth Tone to the Gospel, speaking on this wise: Our Lord Christ is a good Friend, and his words are full of love; so we will take the Sixth Tone for the Gospel. And since Saint Paul is a very earnest apostle we will set the Eighth Tone to the Epistle. So he himself made the notes over the Epistles, and the Gospels, and the Words of Institution of the true Body and Blood of Christ, and sung them over to me to get my judgment thereon. He kept me three weeks long at Wittenberg, to write out the notes over some of the Gospels and Epistles, until the first German Mass was sung in the parish church. And I must needs stay to hear it, and take with me a copy of the Mass to Torgau and present it to His Grace the Elector from Doctor Luther.

"Furthermore, he gave orders to re-establish the Vespers, which in many places were fallen into disuse, with short plain choral hymns for the students and boys; withal, that the charity-scholars, collecting their bread, should sing from door to door Latin Hymns, Anthems and Responses, appropriate to the season. It was no satisfaction to him that the scholars should sing in the streets nothing but German songs….The most profitable songs for the common multitude are the plain psalms and hymns, both Luther's and the earlier ones; but the Latin songs are useful for the learned and for students. We see, and hear, and clearly apprehend how the Holy Ghost himself wrought not only in the authors of the Latin hymns, but also in Luther, who in our time has had the chief part both in writing the German choral hymns, and in setting them to tunes; as may be seen, among others in the German Sanctus (Jesaia dem Propheten das geschah) how masterly and well he has fitted all the notes to the text, according to the just accent and concent. At the time, I was moved by His Grace to put the question how or where he had got this composition, or this instruction; whereupon the dear man laughed at my simplicity, and said: I learned this of the poet Virgil, who has the power so artfully to adapt his verses and his words to the story he is telling; in like manner must Music govern all its notes and melodies by the text."⁵

It seems superfluous to add to this testimony the word of Sleidan, the nearly contemporary historian, who says expressly concerning "Ein' feste Burg" that Luther made for it a tune singularly suited to the words, and adapted to stir the heart.⁶ If ever there were hymn and tune that told their own story of a common and simultaneous origin, without need of confirmation by external evidence, it is these.

To an extent quite without parallel in the history of music, the power of Luther's tunes, as well as of his words, is manifest after three centuries, over the masters of the art, as well as over the common people. Peculiarly is thistrue of the great song Ein' feste Burg, which Heine not vainly predicted would again be heard in Europe in like manner as of old. The composers of the sixteenth and seventeenth centuries practised their elaborate artifices upon it. The supreme genius of Sebastian Bach made it the subject of study.⁷ And in our own times it has been used with conspicuous effect in Mendelssohn's Reformation Symphony, in an overture by Raff, in the noble_Festouverture_ of Nicolai, and in Wagner's Kaisermarsch; and is introduced with recurring emphasis in Meyerbeer's masterpiece of The Huguenots.

It is needless to say that the materials of this Birth- day Edition of Luther's Hymns and Tunes have been prepared in profusion by the diligence of German scholars. But very thankful acknowledgments are also due to English translators, who have made this work possible within the very scanty time allotted to it. Full credit is given in the table of contents for the help derived from these various translators. But the exigencies of this volume were peculiarly severe, inasmuch as the translation was to be printed over against the original, and also under the music. Not even Mr. Richard Massie's careful work would always bear this double test; so that I have found myself compelled, in most cases, to give up the attempt to follow any translation exactly; and in some instances have reluctantly attempted a wholly new version. The whole credit of the musical editorship belongs to my accomplished associate, Mr. Nathan H. Allen, without whose ready resource and earnest labor the work would have been impossible within the limits of time necessarily prescribed. In the choice of harmonies for these ancient tunes, he has wisely preferred, in general, the arrangements of the older masters. The critical musician will see, and will not complain, that the original modal structure of the melodies is sometimes affected by the harmonic treatment.

And now the proper conclusion to this Introduction, which, like the rest of the volume, is in so slight a degree the work of the editor, is to add the successive prefaces from the pen of Luther which accompanied successive hymn-books published during his life-time and under his supervision.

LEONARD WOOLSEY BACON