Martin Luther and his family by G.A. Spangenberg (1866) Musée de Leipzig

“Next to the Word of God, music deserves the highest praise.” (Martin Luther, 1483-1548)

The reformer Martin Luther was not merely a scholar and theologian, but also a talented musician and composer. He sang and played the lute (as pictured above). As the father of the Protestant Reformation, he pushed for music instruction throughout Germany. He guided and shaped music as an expression of the reformed faith. We can give him credit for many of the musical innovations we now take for granted, such as congregational singing of hymns.

Luther collaborated with Johann Walter, singer, composer, and choirmaster to the Elector of Saxony, and together they published the first Lutheran hymn books. These hymns were instantly popular and spread quickly and widely. Among the most popular German publications in the middle of the 16th century were the Achliederbuch (1524), Enchiridion (1524), and Geystliche Gesang Buchleyn (1524). The Rev Kurt Egbert wrote:

Luther’s hymns were very popular and were sung at home, in the fields, in the marketplace, on the way to work and at group gatherings of various kinds. In the churches the singing was led by the choir (not accompanied by the organ). As hymnals were made available to the congregations, the hymns were often sung antiphonally. The stanzas were divided between the congregation, choir and organ. This is a practice which only recently has become fairly popular in Lutheran churches after a long period of neglect.(The 1983 essay “Martin Luther, God’s Music Man” is available here)

Luther’s reform of music initially allowed the use of as much or as little Latin as each church saw fit. He imported Roman Catholic music freely, often changing or translating the text into German. In 1523 he undertook to write a German version of the Mass.

He often wrote powerfully of music’s ability to elevate the human spirit. In Luther’s famous 1538 Foreword to Georg Rhau’s Collection, “Symphoniae iucundae”, his joyous thoughts crescendo to a passion that looks beyond this world to a heavenly dance:

I would extol the precious gift of God in the noble art of music, but I scarcely know where to begin or end… This precious gift has been bestowed on men alone to remind them that they are created to praise and magnify the Lord. But when natural music is sharpened and polished by art, then one begins to see with amazement the great and perfect wisdom of God in his wonderful work of music, where one voice takes a simple part and around it sing three, four, or five other voices, leaping, springing round about, marvelously gracing the simple part, like a folk dance in heaven with friendly bows, embracing, and hearty swinging of partners.

An explosion of musical creativity continued in the Lutheran churches for the next few hundred years. Riches of beauty flowed from the pens of such luminous composers as Dietrich Buxtehude, Samuel Scheidt, Heinrich Schütz, Johann Sebastian Bach, and Felix Mendelssohn. The Anglican Church, receiving Luther’s insights, evolved its own beautiful musical traditions in the capable hands of William Byrd, Thomas Tallis, and others.

Among the leaders of the Protestant Reformation, Luther’s enthusiastic embrace of music stands in stark contrast to the attitudes of some of the others. To be sure, Luther felt that music should serve the word—he advocated singing one note per syllable, for example—but he didn’t eliminate music. Many of the reformers who followed Luther took a dimmer view of music. Some banned organs and other musical instruments in their churches, and even eliminated music altogether in favor of the spoken word. In Geneva, John Calvin permitted only the a capella singing of metrical psalms. While I will not denigrate the faith, devotion, and spiritual insights of the other reformers, music in the Protestant Church clearly owes a deep debt to Martin Luther.

As a recent essay summarizes:
For Luther to “say and sing” was a single concept resulting from the inevitable eruption of joyful song in the heart of the redeemed. In contrast to some other reformers who saw music as always potentially troublesome and in need of careful control and direction, Luther, in the freedom of the Gospel, could exult in the power of music to proclaim the Word and to touch the heart and mind of man. (Paul Schilf, PhD at Christ Lutheran Church, Sioux Falls)

I recall that when I was a junior in college I visited an Anglican church whose worthy choir was performing Anton Bruckner’s “Os Justi” (not a reformed work, of course). As the treble voices soared, the man next to me muttered, “You would have to have ears of wax not to be moved by that.” Martin Luther expressed a similar sentiment:

“A person…who does not regard music as a marvelous creation of God, must be a clodhopper indeed and does not deserve to be called a human being; he should be permitted to hear nothing but the braying of asses and the grunting of hogs.”