linguistic:voice_change, linguistic:translation, quality:correction
Hymnodist

Luther was a prolific hymnodist, authoring hymns such as "Ein feste Burg ist unser Gott" (" A Mighty Fortress Is Our God "), based on Psalm 46, and " Vom Himmel hoch, da komm ich her " ("From Heaven Above to Earth I Come"), based on Luke 2:11–12. Luther connected high art and folk music, also all classes, clergy and laity, men, women and children. His tool of choice for this connection was the singing of German hymns in connection with worship, school, home, and the public arena. He often accompanied the sung hymns with a lute, later recreated as the waldzither that became a national instrument of Germany in the 20th century.

Luther's hymns were frequently evoked by particular events in his life and the unfolding Reformation. This behavior started with his learning of the execution of Jan van Essen and Hendrik Vos, the first individuals to be martyred by the Roman Catholic Church for Lutheran views, prompting Luther to write the hymn " Ein neues Lied wir heben an " ("A New Song We Raise"), which is generally known in English by John C. Messenger's translation by the title and first line "Flung to the Heedless Winds" and sung to the tune Ibstone composed in 1875 by Maria C. Tiddeman.

Luther's 1524 creedal hymn " Wir glauben all an einen Gott " ("We All Believe in One True God") is a three-stanza confession of faith prefiguring Luther's 1529 three-part explanation of the Apostles' Creed in the Small Catechism. Luther's hymn, adapted and expanded from an earlier German creedal hymn, gained widespread use in vernacular Lutheran liturgies as early as 1525. Sixteenth-century Lutheran hymnals also included "Wir glauben all" among the catechetical hymns, although 18th-century hymnals tended to label the hymn as Trinitarian rather than catechetical, and 20th-century Lutherans rarely used the hymn because of the perceived difficulty of its tune.

Luther's 1538 hymnic version of the Lord's Prayer, " Vater unser im Himmelreich ", corresponds exactly to Luther's explanation of the prayer in the Small Catechism, with one stanza for each of the seven prayer petitions, plus opening and closing stanzas. The hymn functions both as a liturgical setting of the Lord's Prayer and as a means of examining candidates on specific catechism questions. The extant manuscript shows multiple revisions, demonstrating Luther's concern to clarify and strengthen the text and to provide an appropriately prayerful tune. Other 16th- and 20th-century versifications of the Lord's Prayer have adopted Luther's tune, although modern texts are considerably shorter.

Luther wrote " Aus tiefer Not schrei ich zu dir " ("From depths of woe I cry to You") in 1523 as a hymnic version of Psalm 130 and sent it as a sample to encourage his colleagues to write psalm-hymns for use in German worship. In a collaboration with Paul Speratus, this and seven other hymns were published in the Achtliederbuch, the first Lutheran hymnal. In 1524 Luther developed his original four-stanza psalm paraphrase into a five-stanza Reformation hymn that developed the theme of "grace alone" more fully. Because it expressed essential Reformation doctrine, this expanded version of "Aus tiefer Not" was designated as a regular component of several regional Lutheran liturgies and was widely used at funerals, including Luther's own. Along with Erhart Hegenwalt's hymnic version of Psalm 51, Luther's expanded hymn was also adopted for use with the fifth part of Luther's catechism, concerning confession.

Luther wrote " Ach Gott, vom Himmel sieh darein " ("Oh God, look down from heaven"). " Nun komm, der Heiden Heiland " (Now come, Savior of the gentiles), based on Veni redemptor gentium, became the main hymn (Hauptlied) for Advent. He transformed A solus ortus cardine to " Christum wir sollen loben schon " ("We should now praise Christ") and Veni Creator Spiritus to " Komm, Gott Schöpfer, Heiliger Geist " ("Come, Holy Spirit, Lord God"). He wrote two hymns on the Ten Commandments, " Dies sind die heilgen Zehn Gebot " and "Mensch, willst du leben seliglich". His " Gelobet seist du, Jesu Christ " ("Praise be to You, Jesus Christ") became the main hymn for Christmas. He wrote for Pentecost " Nun bitten wir den Heiligen Geist ", and adopted for Easter " Christ ist erstanden " (Christ is risen), based on Victimae paschali laudes. " Mit Fried und Freud ich fahr dahin ", a paraphrase of Nunc dimittis, was intended for Purification, but became also a funeral hymn. He paraphrased the Te Deum as " Herr Gott, dich loben wir " with a simplified form of the melody. It became known as the German Te Deum.

Luther's 1541 hymn " Christ unser Herr zum Jordan kam " ("To Jordan came the Christ our Lord") reflects the structure and substance of his questions and answers concerning baptism in the Small Catechism. Luther adopted a preexisting Johann Walter tune associated with a hymnic setting of Psalm 67 's prayer for grace; Wolf Heintz's four-part setting of the hymn was used to introduce the Lutheran Reformation in Halle in 1541. Preachers and composers of the 18th century, including J.S. Bach, used this rich hymn as a subject for their own work, although its objective baptismal theology was displaced by more subjective hymns under the influence of late-19th-century Lutheran pietism.

Luther's hymns were included in early Lutheran hymnals and spread the ideas of the Reformation. He supplied four of eight songs of the First Lutheran hymnal Achtliederbuch, 18 of 26 songs of the Erfurt Enchiridion, and 24 of the 32 songs in the first choral hymnal with settings by Johann Walter, Eyn geystlich Gesangk Buchleyn, all published in 1524. Luther's hymns inspired composers to write music. Johann Sebastian Bach included several verses as chorales in his cantatas and based chorale cantatas entirely on them, namely Christ lag in Todes Banden, BWV 4, as early as possibly 1707, in his second annual cycle (1724 to 1725) Ach Gott, vom Himmel sieh darein, BWV 2, Christ unser Herr zum Jordan kam, BWV 7, Nun komm, der Heiden Heiland, BWV 62, Gelobet seist du, Jesu Christ, BWV 91, and Aus tiefer Not schrei ich zu dir, BWV 38, later Ein feste Burg ist unser Gott, BWV 80, and in 1735 Wär Gott nicht mit uns diese Zeit, BWV 14.