Luther, Martin

(b Eisleben, 10 Nov 1483; d Eisleben,18 Feb 1546). German theologian andfounder of the Lutheran Church. He influenced all 16th-century church reformers to a greater or lesser extent by his writings and activities but, unlike some of them, Luther gave an important place to music.

1. Life.

2. Works.

WORKS

BIBLIOGRAPHY

ROBIN A. LEAVER

Luther, Martin

1. Life.

Luther was the son of a fairly prosperous Thuringian miner, who wanted his son to become a lawyer. He was sent to appropriate Latin schools in Mansfeld and Magdeburg, and to the Georgschule in Eisenach. In 1501 he entered the University of Erfurt, where he took the bachelor’s and master’s degrees. Then, following his father’s wishes, he began to study law, but unexpectedly entered the local Augustinian monastery and in 1505 became a monk. In April 1507 he was ordained priest and celebrated his first Mass a month later. Three years later he was commissioned to visit Rome to plead the cause of the reorganization of the Augustinian order. While there he was shocked by the commercialism and worldliness of the Italian clergy.

On his return Luther took the doctorate in theology (1512) and became professor of sacred scripture at the University of Wittenberg, a post he held until his death. Between 1512 and 1518 he lectured on a number of biblical books, including Psalms, Romans and Galatians. During these years he ceased to be just another scholastic theologian and emerged as the biblical theologian and church reformer of his time. At this time he had the so-called ‘tower experience’: he came to believe that the essence of the Gospel is faith in the crucified and risen Christ; that the sinner is ‘justified by faith alone’. Justification by faith is the touchstone of Luther’s theology and, as he began to come to terms with the doctrine and its implications, he carried most of the university faculty with him. Wittenberg became known as a centre of biblical studies.

Since Luther’s theology was based on the scriptures rather than on the traditions of the church, a conflict was inevitable. Thus Luther called the practice of selling indulgences into question, and on 31 October 1517 gave notice of his wish to debate the matter by nailing his 95 Theses to the door of the Schlosskirche in Wittenberg. These were quickly circulated throughout Germany – indeed, throughout Europe – and the financial returns from the sale of indulgences were adversely affected. Despite pressure to silence him, he continued to make his views public. In 1520 he published three significant writings which, in a sense, were foundation documents of the emerging church which was eventually to bear his name. In the An den christlichen Adel deutscher Nation von des christlichen Standes Besserung he argued against the power of the papacy; De captivitate Babylonica ecclesiae praeludium was his classic statement against the sacramentalism and sacerdotalism of the Roman Catholic Church: and Von der Freiheit eines Christenmenschen augued that a Christian is not bound by the laws of the church but is freed in the Gospel to serve Christ and his fellow man.

The following year he was excommunicated and, after his appearance at the Diet of Worms, where he refused to recant, was condemned as an outlaw by the state. Returning from Worms he was ‘kidnapped’ by his friends and taken to Wartburg Castle near Eisenach. During the following months of enforced solitude he was able to reflect on the implications of biblical doctrines for the life of the church; it was a very productive period and among other writings he completed his translation of the New Testament into German. When he returned to Wittenberg in 1522 he began to reorganize the church there in accordance with biblical principles. The form of worship was changed, hymnbooks were issued, and the basic Reformation doctrines were taught through his Large and Small Catechisms of 1529. The definitive summary of Lutheran belief, the Augsburg Confession, written by Melanchthon with Luther’s full agreement, was presented to Emperor Charles V on 25 June 1530.

For the rest of his life Luther continued lecturing, preaching and encouraging the progress of the Reformation in Saxony and throughout Germany. His greatest work in these years was the completion of his German translation of the entire Bible, a translation which provided inspiration for generations of Lutheran composers. Luther died after acting as a mediator in a quarrel between the princes of Mansfeld. His body was reverently borne to Wittenberg and was buried five days later beneath his pulpit in the Schlosskirche.

Luther, Martin

2. Works.

The Nuremberg poet Hans Sachs described Luther’s reforming work as the singing of ‘the Wittenberg nightingale’ in a poem published in 1523, when Luther was beginning to compose hymn melodies. Luther’s musical abilities were recognized early; for example, while at school he received free bed and board from an elderly woman who admired his voice. He himself reported that he joined other boys singing from house to house there, begging for bread according to custom (Luther’s Works [LW], xlvi, p.250). His practical involvement was matched by an understanding of music theory, which can be judged from his frequent references to the Quadrivium, the medieval fourfold division of mathematics into arithmetic, geometry, astronomy and music (LW, xlv, p.369; LW, xlvi, p.252). His experiences within the Augustinian order and his visit to Rome brought him into contact with the music of many composers, particularly that of Josquin des Prez and Ludwig Senfl, which he valued highly. He is said to have had a fine, though soft, tenor voice, and was an accomplished performer on the flute and lute: the Tischreden contains a number of references to his playing the lute at table and singing with his friends. At various periods Luther worked with significant musicians including the large body of singers and instrumentalists that Frederick the Wise employed at the Schlosskirche in Wittenberg (Duffy, 1995). He also had close associations with the organists Georg Planck in Zeitz and Wolf Heinz in Halle, with the music publisher Georg Rhau and his assistant Sixt Dietrich, as well as with the two successive Kapellmeisters to Duke Frederich, Conrad Rupsch and Johann Walter (i).

In contrast to other reformers, Luther developed a positive, theological understanding of music. He considered music to be ‘the excellent gift of God’ (LW, liii, p.321; see also LW, xv, p.247; WA, Tischreden, no.4441), and maintained: ‘I place music next to theology and give it highest praise’ (WA, Tischreden, no.7034; see also nos.968, 3815, and his letter to Senfl, 4 October 1530). In a much-quoted reference (WA, Tischreden, no.1258) he commented that Josquin’s music was as free as the song of the finch, epitomizing the freedom of the gospel in contrast to the constraint of the law. Older commentators have drawn attention to the parallel between Josquin’s later style, in which greater emphasis is placed on the text than in his earlier compositions, and Luther’s theology of the word and his concern for the clarity and comprehensibility of the liturgical text. However, later writers (Wiora, 1969; Staehelin, 1986), suggest that Luther’s appreciation of Josquin’s music was as much aesthetic as theological.

The two focal points of Luther’s reforms were the church and schools. In his ecclesiastical reform, vernacular congregational hymnody was fundamental (see Chorale). Beginning in winter 1523–4 Luther and his colleagues began writing, revising, composing and arranging hymns for people to sing in the new evangelical worship. While Luther’s ability in writing the texts of these hymns has been universally acknowledged, his compositional accomplishments in this hymnody have been variously evaluated. During the 19th century, scholarly opinion credited few, if any, of these melodies to Luther. By the mid-20th century this consensus was reversed and Luther was regarded as the composer and/or arranger of virtually all the melodies that originally appeared with his texts, a consensus based on three principal reasons: Luther’s contemporaries considered them to be his; it was customary for composers to write poetry and poets to write music; and Luther clearly had the necessary musical gifts and abilities. More recent scholarship, while accepting Luther’s authorship of most of these pieces, has raised questions about some of the melodies. Evidence suggests that Walter may have collaborated with Luther in establishing the accepted forms of particular melodies (Blankenburg, 1978 and 1991).

Luther not only supplied congregational hymns for the new forms of worship but also various liturgical chants. Again, his principal collaborator was Walter, who, in about 1566, recollected Luther’s skill at writing such music (Praetorius, Syntagma musicum, 451–2; trans. Nettl, 75–6):

When he, Luther, 40 years ago desired to introduce the German mass in Wittenberg, he … urged His Electoral Highness to bring … Konrad Rupsch and me to Wittenberg. At that time he discussed with us the Gregorian chants and the nature of the eight modes, and finally he himself applied the eighth mode to the Epistle and the sixth mode to the Gospel, saying: ‘Christ is a kind Lord, and His words are sweet; therefore we want to take the sixth mode for the Gospel; and because Paul is a serious apostle we want to arrange the eighth mode for the Epistle’. Luther himself wrote the music for the lesson and the words of the institution of the true body and blood of Christ, sang them to me, and wanted to hear my opinion of it. … One sees, hears and understands at once how the Holy Ghost has been active not only in the authors who composed the Latin hymns and set them to music, but in Herr Luther himself, who has invented most of the poetry and melody of the German chants. And it can be seen from the German Sanctus [Jesaja dem Propheten geschah] how he arranged all the notes to the text with the right accent and concent in masterly fashion. I, at the time, was tempted to ask His Reverence from where he had these pieces and his knowledge; whereupon the dear man laughed at my simplicity. He told me that … all music should be so arranged that its notes are in harmony with the text.

The close association between words and notes, which later characterized the compositions of Schütz, was extremely important to Luther. In 1525 he wrote that ‘both text and notes, accent, melody and manner of rendering ought to grow out of the true mother tongue and its inflection’ (LW, xl, p.141; see also D. Martin Luthers Werke, [WA] Briefwechsel, iii, no.847; WA, Tischreden, no.2545). He also had an acute sense of the rhythmic stress of poetry (WA, Tischreden, no.1333) that was reflected in the rhythmic energy of the original forms of his melodies (seeChorale, with facs. of Ein’ feste Burg). These rhythms were changed in the 18th-century isometric versions.

In his concern for reform of music in schools attached to evangelical churches, Luther joined forces with various colleagues notably Philipp Melanchthon, who supplied the pedagogical framework for music in schools, Johann Walter, who composed much of the polyphonic repertory that was first taught in schools, and Georg Rhau, who published a whole series of editions of music for school and church. For Luther the knowledge of music was of utmost importance in the education of young people; he sent his son Hans to Torgau to study music with Walter (see the letter to M. Crodel, 26 August 1542), declared that a schoolmaster must know how to sing, and even held that no one should be ordained who had no practical experience of music (WA, Tischreden, no.6248). Thus it became customary in the Lutheran church, until the 18th century, for musicians to study theology and prospective pastors to study and practise music.

The combination of Luther’s theology of music, his provision and promotion of hymns and chants, his encouragement of congregational, vocal and instrumental liturgical music, and his concern for music in schools, laid the foundation for the distinctive tradition of Lutheran church music.

See alsoChorale andLutheran church music.

Luther, Martin

WORKS

Editions:D. Martin Luthers Werke: kritische Gesamtausgabe (Weimar, 1883–) [WA]Luther’s Works, ed. J. Pelikan and H.T. Lehmann (St Louis and Philadelphia, 1955–) [LW]Luthers geistliche Lieder und Kirchengesänge, ed. M. Jenny (Cologne, 1985) [J]

hymns

all in WA xxxv, LW liii and J

original hymns

hymns based on Latin models

hymns based on German models

Liturgical Psalms and Hymns

melodies associated with luther's hymns and liturgical texts

Editions:J. Zahn: Die Melodien der deutsche evangelischen Kirchenlieder (Gütersloh, 1889–1893) [Zahn]M. Jenny: Luthers Geistliche Lieder und Kirchengesänge: Vollständige Neuedition in Ergänzung zu Band 35 der Weimarer Ausgabe [Archiv zur Weimarer Ausgabe der Werke Martin Luthers, iv (Cologne, 1985) [AWAiv]]Evangelisches Gesangbuch (Berlin, 1993) [EG]

a: composed by luther

b. adapted by luther

C. Composed or Adapted by Luther in Collaboration with Johann Walter

D. Composed or Adapted by Johann Walter

polyphonic settings

writings relatng to music

liturgical writings

Luther, Martin

BIBLIOGRAPHY

BlumeEK

MGG1(W. Blankenburg)

ReeseMR

ZahnM

J. Rautenstrauch: Luther und die Pflege der Kirchlichen Musik in Sachsen (Leipzig, 1907/R)

K. Anton: Luther und die Musik (Zwickau, 1916, 4/1957)

W.E. Buszin: ‘ Luther on Music’, MQ, xxxii (1946), 80–97

P. Nettl: Luther and Music (Philadelphia, 1948/R)

R.M. Stevenson: ‘Luther’s Musical Achievement’, Patterns of Protestant Church Music (Durham, NC, 1953), 3–12

V. Vajta: Die Theologie des Gottesdienste bei Luther (Göttingen, 1952, 3/1959; Eng. trans., abridged, 1958, as Luther on Worship)

T. Hoelty-Nickel: ‘Luther and Music’, Luther and Culture, Martin Luther Lectures, iv (Decorah, IA, 1960), 143–211

K.F. Müller and W.Blankenburg, eds.: Leiturgia Handbuch des Evangelischen Gottesdienstes, iv: Die Musik des Evangelischen Gottesdienstes (Kassel, 1961)

K. Ihlenfeld: ‘ Die himmlische Kunst Musica: ein Blick in Luthers Brief’, Luther: Zeitschrift der Luther-Gesellschaft, xxxiv (1963), 83–90

M. Jenny: ‘The Hymns of Zwingli and Luther: a Comparison’, Cantors at the Crossroads: Essays on Church Music in Honor of Walter E. Buszin, ed. J. Riedel (St Louis, Missouri, 1967), 45–63

J. Riedel: The Lutheran Chorale: its Basic Traditions (Minneapolis, 1967)

O. Söhngen: Theologie der Musik (Kassel, 1967)

J.W. Barker: ‘ Sociological Influences upon the Emergence of Lutheran Music’, MMA, iv (1969), 157–98, esp. 172–85

W. Wiora: ‘Josquin und “des Finken gesang” (zu einem Ausspruch Martin Luthers)’, DJbM, xiii (1969), 72–81

R.L. Gould: The Latin Lutheran Mass at Wittenberg, 1523–1545: a Survey of the Early Reformation Mass and the Lutheran Theology of Music (diss., Union Theological Seminary, 1970)

W. Blankenburg: ‘Überlieferung und Textgeschichte von Martin Luthers “Encomion musices”’, Luther-Jb (1972), 80–104

R.A. Leaver: The Liturgy and Music: a Study of the Use of the Hymn in Two Liturgical Traditions (Nottingham, 1976)

W. Blankenburg: ‘Johann Walter: der Urheber der endgültigen Gestalt der Weisen von “Wir glauben all an einen Gott” und “Mitten wir im Leben sind”’, JbLH, xxii (1978), 146–55

M. Jenny: ‘Luthers Gesangbuch’, Leben und Werk Martin Luthers von 1525 bis 1546, ed. H. Junghans (Berlin, 1983), 303–21, 825–32

F. Kalb: ‘Luther und die Musik des Gottesdienst’, Gottesdienst und Kirchenmusik (1983), 144–50

J.-D. Kraege: ‘ Luther théologien de la musique’, Etudes théologiques et religieuses, lviii (1983), 449–63

H.R. Pankratz: ‘Luther's Utilization of Music in School and Town in the Early Reformation’,The Martin Luther Quincentennial: Michigan 1983, 99–112

O. Söhngen: ‘Luthers Bedeutung für die Geschichte der Musik’, Musik und Kirche, liii (1983), 225–33

F. Weiniger: ‘ Die Musik im pastoralen Konzept Martin Luthers’, Diakonia, xiv (1983), 372–7

F. Weiniger: ‘ Martin Luther und die Musik’, Musica sacra, ciii (1983), 184–6

M. Jenny: ‘Sieben biblische Begräbnisgesänge: ein unbekanntes und unediertes Werk Martin Luthers’, Lutheriana: zum 500. Geburtstag Martin Luthers, ed. G. Hammer and K.-H. zur Mühlen (Cologne, 1985), 455–74

R. Schmidt-Rost: ‘Martin Luthers Gedanken über die Orgel im Gottesdienst’,Württembergische Blätter für Kirchenmusik, lii/2 ( 1985), 40–45

K.C. Sessions: ‘Luther in Music and Verse’, Pietas et societas: New Trends in Reformation Social History: Essays in Memory of Harold J. Grimm, ed. K.C. Sessions and P.N. Bebb (Kirksville, MO, 1985), 123–39

M. Staehelin: ‘ Luther über Josquin’, Festschrift Martin Ruhnke zum 65. Geburtstag (Neuhausen, 1986), 326–38

P. Veit: Das Kirchenlied in der Reformation Martin Luthers (Wiesbaden, 1986)

E. Foley: ‘Martin Luther: a Model Pastoral Musician’, Currents in Theology and Mission, liv (1987), 405–18

G. Kappner: ‘ Luther und die Musik’, Singet und spielet dem Herrn: Bremer Beiträge zur Kirchenmusik, ed. G. Kappner (Bremen, 1987), 64–8

K. Ameln: ‘“All Ehr und Lob soll Gottes sein”: ein deutsches Gloria von Martin Luther?’, JbLH, xxxi (1988), 38–52

C. Schalk: Luther on Music: Paradigms of Praise (St. Louis, 1988)

K. Ameln: ‘Luthers Kirchenlied und Gesangbuch: offene Fragen’, JbLH, xxxii ( 1989), 19–28

K. Ameln: ‘Über die Sprachmelodie in den geistlichen Gesängen Martin Luthers’,Questiones in musica: Festschrift für Franz Krautwurst, ed. F. Brusniak and H. Leuchtmann (Tutzing, 1989), 13–32

R.A. Leaver: ‘ The Lutheran Reformation’, The Renaissance: from the 1470s to the End of the 16th Century, ed. I. Fenlon (London, 1989), 263–85

H. Robinson-Hammerstein: ‘The Lutheran Reformation and its Music’, The Transmission of Ideas in the Lutheran Reformation, ed. H. Robinson-Hammerstein (Dublin, 1989), 141–71

W. Blankenburg: Johann Walter: Leben und Werk, ed. F. Brusniak (Tutzing, 1991)

R.A. Leaver: ‘Christian Liturgical Music in the Wake of the Protestant Reformation, Sacred Sound and Social Change: Liturgical Music in Jewish and Christian Experience, ed. L.A. Hoffman and J.R. Walton (Notre Dame, 1992), 124–44

H. Pietsch: ‘ On Luther's Understanding of Music’, Lutheran Theological Journal, xxvi (1992), 160–68

B.A. Föllmi: Das Weiterwirken der Musikanschauung Augustins im 16. Jahrhundert (Berne,1994)

K.A.P. Duffy: The Jena Choirbooks: Music and Liturgy at the Castle Church in Wittenberg under Frederick the Wise, Elector of Saxony (diss., U of Chicago, 1995)

H. Guicharrousse: Les musiques de Luther (Geneva, 1995)

R.A. Leaver: ‘ Theological Consistency, Liturgical Integrity, and Musical Hermeneutic in Luther's Liturgical Reforms’, Lutheran Quarterly, ix (1995), 117–38

R.A. Leaver: ‘ Luther's Catechism Hymns’, Lutheran Quarterly, xi/xii (1997–8)

A. Lindner: ‘ “Nonmoriar sed vivam”: Luther, Senfl und die Reformation des Hochstifts Naumburg-Zeitz’, JbLH, xxxvi (1997), 208–17