Dr. Martin Luther's Deutsche Geistliche Lieder / The Hymns of Martin Luther E-Book

Martin Luther

• Herausgeber: Phoemixx Classics Ebooks
• Kategorie: Geisteswissenschaft
• Sprache: Deutsch
• Veröffentlichungsjahr: 2022

Seitenzahl: 138

Beschreibung

Dr. Martin Luther's Deutsche Geistliche Lieder / The Hymns of Martin Luther Martin Luther - 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;

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Martin Luther

Dr. Martin Luther's Deutsche Geistliche Lieder / The Hymns of Martin Luther

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DEAR CHRISTIANS, ONE AND ALL REJOICE.

TRANSLATION in part from R. Massie.

FIRST MELODY, 1524. Harmony by H. Schein, 1627.

SECOND MELODY from Klug's Gesangbuch, 1543. Harmony by M. Praetorius, 1610. This choral is commonly known under the title, "Es ist gewisslich an der Zeit," and, in a modified form, in England and America, as "Luther's Judgment Hymn," from its association with a hymn of W. B. Collyer, partly derived from the German, and not written by Luther.

II. - Ach Gott, vom Himmel sieh' darein.

PSALM XII - Salvum me fac, Domine.

LOOK DOWN, O LORD, FROM HEAVEN BEHOLD.

TRANSLATION chiefly from Frances Elizabeth Cox, in "Hymns from the German." FIRST MELODY, 1524, is the tune of the hymn of Paul Speratus, "Es ist das Heil uns kommen her," the singing of which under Luther's window at Wittenberg is related to have made so deep an impression on the Reformer. The anecdote is confirmed by the fact that in the "Eight Songs," Luther's three version of Psalms are all set to this tune.. Harmony by A. Haupt, 1869.

SECOND MELODY from Klug's Gesangbuch, 1543. Harmony by Haupt, 1869. This is the tune in common use with this psalm in northern Germany.

III. - Es spricht der Unweisen Mund wohl.

PSALM XIV.-"Dixit insipiens in corde."

THE MOUTH OF FOOLS DOTH GOD CONFESS.

TRANSLATION from R. Massie.

MELODY from Walter's Gesangbuch, 1525. Harmony by M. Praetorius, 1610.

IV. - Aus tiefer Noth schrei' ich zu dir.

PSALM CXXX. - "De profundis clamavi."

OUT OF THE DEEP I CRY TO THEE.

TRANSLATION by Arthur Tozer Russel.

FIRST MELODY from Walter's Gesangbuch, 1525. Harmony by John Sebastian Bach, about 1725.

SECOND MELODY in Wolfgang Koephl's Gesangbuch, 1537, and in George Rhau's, 1544. Harmony by A. Haupt, 1869.

FROM THE "ENCHIRIDION," Erfurt, 1524.

V. - Ein neues Lied wir heben an.

"A Song of the Two Christian Martyrs, burnt at Brussels by the Sophists of Louvain. Which took place in the year 1522." [The real date of the event was July 1, 1523; and the ballard gives every token of having been inspired by the first announcement of the story. The excellent translation of Mr. Massie has been conformed more closely to the original in the third and fourth stanzas; also, by a felicitous quatrain from the late Dr. C. T. Brooks, in the tenth stanza.]

BY HELP OF GOD I FAIN WOULD TELL.

TRANSLATION principally that of R. Massie.

MELODY in Walter's Gesangbuch, 1525. Harmony by M. Praetorius, 1610.

VI. - Nun komm, der Heiden Heiland.

From the Ambrosian Hymn, "Veni, Redemptor, gentium.)

SAVIOUR OF THE HEATHEN, KNOWN.

TRANSLATION in part from R. Massie.

MELODY derived from that of the Latin hymn, in Walter's Gesangbuch, 1525. Harmony from "The Choral Book for England," by Sterndale Bennett and Otto Goldschmidt, 1865.

VII. - Christum wir sollen loben schon.

(From the Latin hymn, "A solis ortus cardine.")

NOW PRAISE WE CHRIST, THE HOLY ONE.

TRANSLATION by R. Massie.

MELODY that of the Latin hymn. Harmony by M. Praetorius, 1609.

VIII. - Gelobet sei'st du, Jesu Christ.

ALL PRAISE TO JESUS' HALLOWED NAME.

TRANSLATION chiefly by R. Massie.

ANCIENT GERMAN CHURCH MELODY. Harmony by A. Haupt, 1869.

IX. - Christ lag in Todesbanden.

"Christ ist erstanden."-Gebessert.

CHRIST WAS LAID IN DEATH'S STRONG BANDS.

MELODY derived from that of the older German hymn. Harmony by Bennett and Goldschmitt, 1865.

X. - Komm, Gott Schoepfer, heiliger Geist.

From Veni, Creator Spiritus, ascribed to Charlemagne, 800.

COME, GOD CREATOR, HOLY GHOST.

MELODY of the eighth century. Harmony by John Sebastian Bach.

XI. - Jesus Christus unser Heiland.

JESUS CHRIST, WHO CAME TO SAVE.

MELODY first published by Klug, 1543, and Bapst, 1545. Harmony after John Sebastian Bach.

XII. - Komm, heiliger Geist, Herre Gott.

"Veni, Sancte Spiritus, gebessert durch D. Martin Luther." The first stanza translated from the Latin hymn ascribed to King Robert of France (A. D. 991), is traced to a service-book of the church in Basel, of the year 1514.

COME, HOLY SPIRIT, LORD OUR GOD.

TRANSLATION chiefly that of Arthur Tozer Russell.

ORIGINAL LATIN MELODY. Harmony after Erythraeus, 1609.

XIII. - Diess sind die heil'gen zehn Gebot'.

The Ten Commandments.

THAT MEN A GODLY LIFE MIGHT LIVE.

TRANSLATION chiefly by R. Massie.

XIV. - Jesus Christus unser Heiland.

Translated from "Jesus Christus, nostra salus," hymn of John Huss.

CHRIST, WHO FREED OUR SOULS FROM DANGER.

TRANSLATION by R. Massie.

MELODY in Walter, 1525. Harmony in Von Tucher, 1848.

XV. - Gott sei gelobet und gebenedeiet.

MAY GOD BE PRAISED HENCEFORTH AND BLEST FOREVER.

TRANSLATION by R. Massie, amended.

MELODY from some older one, 1525. Harmony by H. Schein, 1627.

XVI. - Es wollt' uns Gott genaedig sein.

Psalm LXVII. - Deus miseratur nostri.

MAY GOD UNTO US GRACIOUS BE.

TRANSLATION by Arthur Tozer Russell.

MELODY in Koephl, Strassburg, 1538. Harmony, by A. Haupt, 1869.

XVII. - Wohl dem, der in Gottesfurcht steht.

Psalm CXXVIII.- Beati omnes qui timent Dominum.

HAPPY THE MAN WHO FEARETH GOD.

TRANSLATION by R. Massie.

FIRST MELODY, of 1525. Harmony by Gesius, 1605.

SECOND MELODY, of 1537. Harmony by Landgraf Moritz, 1612.

XVIII. - Mitten wir im Leben sind.

The first stanza from Media vita in morte sumus. Notker, A.D. 912.

THOUGH IN MIDST OF LIFE WE BE.

TRANSLATION by R. Massie.

Melody (not from the Latin), 1525. Harmony by Erythraeus, 1608.

XIX. - Nun bitten wir den heiligen Geist.

The first stanza from an ancient German hymn.

NOW PRAY WE ALL GOD, THE COMFORTER.

TRANSLATION by Arthur Tozer Russell.

Melody, 1525. Harmony by A. Haupt, 1869.

XX. - Mit Fried' und Freud' ich fahr' dahin.

The Song Of Simeon: Nunc Dimittis.

IN PEACE AND JOY I NOW DEPART.

MELODY, 1525. Harmony by M. Praetorius, 1610.

XXI. - Mensch, willt du leben seliglich. The Ten Commandments, abridged.

WILT THOU, O MAN, LIVE HAPPILY.

TRANSLATION by R. Massie, adapted.

Melody, 1525. Harmony by H. Schein, 1627.

XXII. - Gott der Vater wohn' uns bei.

An ancient Litany-hymn of the German churches, much used in Passion-week and in the processions before Ascension-day by Luther "gebessert und christlich corrigyret."

GOD, THE FATHER, WITH US STAY.

ANCIENT GERMAN MELODY. Harmony by Landgraf Moritz, 1612.

XXIII. - Wir glauben All' an einen Gott.

The Creed. "Das deutsche patrem."

WE ALL BELIEVE IN ONE TRUE GOD.

MELODY, 1525. Harmony from an ancient source.

XXIV. - Waer' Gott nicht mit uns diese Zeit.

Psalm CXXIV. - Nisi quia Dominus.

HAD GOD NOT COME, MAY ISRAEL SAY.

TRANSLATION by R. Massie.

MELODY, 1525. Harmony by M. Praetorius, 1610.

FROM THE GERMAN MASS, 1526.

XXV. - Jesaia, dem Propheten, das geschah.

Isaiah VI, 1-4. The German Sanctus.

THESE THINGS THE SEER ISAIAH DID BEFALL

MELODY, 1526. Harmony by Erythraeus, 1608.

IN "FORM UND ORDNUNG GEISTLICHER GESANG,"         Augsburg, 1529.

XXVI. - Ein' feste Burg ist unser Gott.

Psalm XLVI. - Deus refugium noster et virtus.

-STRONG TOWER AND REFUGE IS OUR GOD.-

MELODY, 1529. Harmony by [nothing printed here].

IN A COLLECTION OF "GEISTLICHE LIEDER,"         Wittenberg, 1533.

XXVII. - Berleih' uns Frieden gnaediglich.

Da pacem Domine.

IN THESE OUR DAYS SO PERILOUS.

TRANSLATION by R. Massie, amended.

MELODY, 1533? 1543. Harmony by Erythraeus, 1608.

XXVIII. - Herr Gott, dich loben wir.

Te Deum Laudamus.

LORD GOD, THY PRAISE WE SING.

TRANSLATION by R. Massie, amended.

MELODY derived from the Latin. Harmony by Landgraf Moritz, 1612.

FROM JOSEPH KLUG'S GESANGSBUCH, 1535?

XXIX. Von Himmel hoch da komm ich her.

"A Children's Christmas Song of the little child Jesus, taken from the second chapter of Luke, by Dr. Martin Luther." Said to have written by him for his little son Hans.

FROM HEAVEN ABOVE TO EARTH I CAME.

TRANSLATION from Miss Winkworth, amended.

MELODY, 1535? 1543. Harmony by [nothing printed here].

XXX. - Sie ist mir lieb, die werthe Magd.

A song concerning the Holy Christian Church - Revelation xii, 1-6. DEAR IS TO ME THE HOLY MAID.

TRANSLATION by R. Massie.

MELODY in Babst, 1545. Harmony by M. Praetorius, 1610.

IN KOEPHL'S GESANGBUCH, Strassburg, 1535? 1538?

XXXI. - Vater unser im Himmelreich.

The Lord's Prayer paraphrased.

OUR FATHER, THOU IN HEAVEN ABOVE.

TRANSLATION by C. Winkworth, in "Choral Book for England," amended.

Melody, 1535? Harmony by A. Haupt, 1869.

[In Winterfeld's edition of Luther's hymns, Leipzig, 1840, may be found a fac-simile of Luther's autograph draft of this paraphrase, including the cancelled draft of a tune for it.]

IN KLUG'S GESANGBUCH, 1543.

XXXII. - Von Himmel kam der Engel schaar.

A shorter Christmas Song.

TO SHEPHERDS, AS THEY WATCHED BY NIGHT.

TRANSLATION by R. Massie.

MELODY, 1543.

XXXIII. - Erhalt' uns, Herr, bei deinem Wort.

"A children's song, to be sung against the two arch-enemies of Christ and his Holy Church, the Pope and the Turks."

LORD, KEEP US IN THY WORD AND WORK.

MELODY, 1543. Harmony by W. Sterndale Bennett, 1865.

XXXIV. - Christ, unser Herr, zum Jordan kam.

A Spiritual Song concerning our Holy Baptism.

TO JORDAN CAME OUR LORD THE CHRIST. TRANSLATION by R. Massie, amended.

MELODY, 1525 first adapted to "Es wollt' uns Gott genaedig sein," supposed to be derived from an old secular melody. Harmony by A. Haupt, 1869.

XXXV. - Was fuercht'st du, Feind Herodes, sehr?

Herodes hostis impie by Sedelius in the 5th century.

WHY, HEROD, UNRELENTING FOE.

TRANSLATION by R. Massie.

HARMONY by M. Praetorius, 1609.

XXXVI. - Der du bist drei in Einigkeit.

An imitation from the Gregorian hymn, O Lux beata Trinitas.

TRANSLATION adapted from R. Massie.

ORIGINAL LATIN MELODY. Harmony in von Tucher, 18—.

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