5 Hymns to Sing in Honor of the 500th Anniversary of the First Lutheran Hymnal

In 1523, Martin Luther wrote to Georg Spalatin (1484–1545), private secretary to Elector Frederick III (“the Wise”) of Saxony. With his superb humanist education, Spalatin was sought by Luther as one skilled in the German language and capable of writing German hymns based on psalms. Thus, by 1523—a mere six years after the posting of the Ninety-Five Theses—Luther was committed to providing German-language hymns for the people to sing and was actively seeking gifted poets to work with him on this project. This work led to the publication of the first Lutheran hymnals in 1524 for which we now mark the five hundredth anniversary.

A History of Hymnals

The first Lutheran hymnal, Etlich Cristlich lider, sometimes referred to as the “Achtliederbuch” (literally, the “eight-hymn book”), was published in Nürnberg in 1524. Shortly thereafter, two competing publishers in Erfurt published booklets entitled Enchiridion, containing additional texts and melodies. Later that year, the earliest polyphonic settings of chorales appeared in the Geystliche gesangk Buchleyn of Johann Walter (1496–1570), published in Wittenberg, marking the beginning of Lutheran choral music.

Luther’s hymn “Dear Christians, One and All, Rejoice” was the first hymn in that first collection. This ten-stanza hymn was followed by Paul Speratus’s (1484–1551) fourteen-stanza “Salvation unto Us Has Come.” Both hymns clearly distinguish Law and Gospel and proclaim that the sinner is justified by God’s grace through faith. Thus, what is noteworthy about this first Lutheran hymnal is the choice and prominent placement of these two hymns, both of which—in a concise, poetic manner—encapsulate the doctrine and teaching at the heart of the Lutheran Reformation.

The following list contains a selection of hymns that first appeared in one of the 1524 collections. Consider emphasizing some of these hymns in the coming months or using them in connection with the celebration of the Lutheran Reformation. 

Come, Holy Ghost, God and Lord

John A. Behnke’s partita on the three-stanza Pentecost hymn “Come, Holy Ghost, God and Lord” (KOMM HEILIGER GEIST, HERRE GOTT) is set in three movements: I. Aria—Now Outpour; II. Duet—Teach Us; and III. Toccata—Strength Impart. 

Triune God, Be Thou Our Stay

Featured as one of the nineteen options in the Chorale Preludes of Georg Philipp Telemann (1681–1767), edited by Sam Eatherton. Telemann typically set each chorale tune twice, the first in three voices and the second alio modo or aliter (“in another way”) consisting of two voices (bicinium), making these settings valuable to student organists and seasoned organists alike. Each chorale has been carefully selected and edited to be compatible with Lutheran Service Book and other hymnals. These settings provide a fresh alternative that will appeal to church organists looking for new ways to present these German chorale tunes.

Salvation unto Us Has Come

Praetorius Chorales for SAB Choir Volume 2, edited by William Braun, includes five SAB chorale settings of Michael Praetorius, including “Salvation unto Us Has Come,” making this collection accessible to most choirs. The settings may be used as a complete selection by the choir, as an anthem, or in alternation with the congregation for the Hymn of the Day.

To God the Holy Spirit Let Us Pray

Praetorius Chorales for SAB Choir Volume 3, edited by William Braun, features five SAB chorale settings of Michael Praetorius, including “To God the Holy Spirit Let Us Pray,” making this collection accessible to most choirs. The settings may be used as a complete selection by the choir, as an anthem, or in alternation with the congregation for the Hymn of the Day.

From Depths of Woe I Cry to Thee

In commemoration of the five hundredth anniversary of Johann Walter’s collection Geystliche gesangk Buchleyn (1524), these three motets were edited and selected for their usefulness for modern choirs throughout the church year and at celebrations of the Lord’s Supper. Each piece may be sung as a stand-alone motet, using one or more stanzas. Or select stanzas may be sung in alternation with the congregation in the context of singing the hymn. 

Find more music that works with today’s hymnal, Lutheran Service Book: Pew Edition, by clicking the button below.