Question: Where is the comparison found of this Lord's Prayer hymn?

Answer: Small Catechism

<hl> 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. <hl> The hymn functioned 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's 1538 hymnic version of the Lord's Prayer, "Vater unser im Himmelreich", corresponds exactly to Luther's explanation of the prayer in the <hl> Small Catechism <hl>, with one stanza for each of the seven prayer petitions, plus opening and closing stanzas. The hymn functioned 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's 1538 hymnic version of the Lord's Prayer, "Vater unser im Himmelreich", corresponds exactly to Luther's explanation of the prayer in the <hl> Small Catechism <hl> , with one stanza for each of the seven prayer petitions, plus opening and closing stanzas.

question: Where is the comparison found of this Lord's Prayer hymn?, context: 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 functioned 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.


Question: What was the hymn meant to examine students on?

Answer: specific catechism questions

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. <hl> The hymn functioned both as a liturgical setting of the Lord's Prayer and as a means of examining candidates on specific catechism questions . <hl> 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'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 functioned both as a liturgical setting of the Lord's Prayer and as a means of examining candidates on <hl> specific catechism questions <hl>. 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.

The hymn functioned both as a liturgical setting of the Lord's Prayer and as a means of examining candidates on <hl> specific catechism questions <hl> .

question: What was the hymn meant to examine students on?, context: 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 functioned 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.


Question: What does the original manuscript show?

Answer: multiple revisions

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 functioned both as a liturgical setting of the Lord's Prayer and as a means of examining candidates on specific catechism questions. <hl> The extant manuscript shows multiple revisions , demonstrating Luther's concern to clarify and strengthen the text and to provide an appropriately prayerful tune. <hl> Other 16th- and 20th-century versifications of the Lord's Prayer have adopted Luther's tune, although modern texts are considerably shorter.

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 functioned 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 <hl> multiple revisions <hl>, 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.

The extant manuscript shows <hl> multiple revisions <hl> , demonstrating Luther's concern to clarify and strengthen the text and to provide an appropriately prayerful tune.

question: What does the original manuscript show?, context: 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 functioned 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.


Question: What do later versions of the Lord's Prayer hymn still use?

Answer: Luther's 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 functioned 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. <hl> Other 16th- and 20th-century versifications of the Lord's Prayer have adopted Luther's tune , although modern texts are considerably shorter. <hl>

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 functioned 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 <hl> Luther's tune <hl>, although modern texts are considerably shorter.

Other 16th- and 20th-century versifications of the Lord's Prayer have adopted <hl> Luther's tune <hl> , although modern texts are considerably shorter.

question: What do later versions of the Lord's Prayer hymn still use?, context: 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 functioned 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.


Question: When did Luther write the hymn From Depths of Woe I cry to You?

Answer: 1523

<hl> 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 evangelical colleagues to write psalm-hymns for use in German worship. <hl> 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 "Aus tiefer Not schrei ich zu dir" ("From depths of woe I cry to you") in <hl> 1523 <hl> as a hymnic version of Psalm 130 and sent it as a sample to encourage evangelical 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.

question: When did Luther write the hymn From Depths of Woe I cry to You?, context: 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 evangelical 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.


Question: What is the basis of the hymn?

Answer: Psalm 130

<hl> 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 evangelical colleagues to write psalm-hymns for use in German worship. <hl> 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 "Aus tiefer Not schrei ich zu dir" ("From depths of woe I cry to you") in 1523 as a hymnic version of <hl> Psalm 130 <hl> and sent it as a sample to encourage evangelical 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.

question: What is the basis of the hymn?, context: 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 evangelical 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.


Question: What did Luther use the hymn to encourage colleagues to do?

Answer: write psalm-hymns

<hl> 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 evangelical colleagues to write psalm-hymns for use in German worship. <hl> 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 "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 evangelical colleagues to <hl> write psalm-hymns <hl> 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.

question: What did Luther use the hymn to encourage colleagues to do?, context: 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 evangelical 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.


Question: What was the first Lutheran hymnal?

Answer: Achtliederbuch

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 evangelical colleagues to write psalm-hymns for use in German worship. <hl> In a collaboration with Paul Speratus, this and seven other hymns were published in the Achtliederbuch , the first Lutheran hymnal. <hl> 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 "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 evangelical 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 <hl> Achtliederbuch <hl>, 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.

In a collaboration with Paul Speratus, this and seven other hymns were published in the <hl> Achtliederbuch <hl> , the first Lutheran hymnal.

question: What was the first Lutheran hymnal?, context: 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 evangelical 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.


Question: What did the hymn, Aus tiefer Not express?

Answer: Reformation doctrine

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 evangelical 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. <hl> 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. <hl> 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 "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 evangelical 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 <hl> Reformation doctrine <hl>, 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.

Because it expressed essential <hl> Reformation doctrine <hl> , 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.

question: What did the hymn, Aus tiefer Not express?, context: 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 evangelical 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.


Question: Which of Luther's hymn was the main one for Advent?

Answer: Nun komm, der Heiden Heiland

<hl> 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. <hl> 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 wrote "Ach Gott, vom Himmel sieh darein" ("Oh God, look down from heaven"). "<hl> Nun komm, der Heiden Heiland <hl>" (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 wrote "Ach Gott, vom Himmel sieh darein" ("Oh God, look down from heaven"). " <hl> Nun komm, der Heiden Heiland <hl> " (Now come, Savior of the gentiles), based on Veni redemptor gentium, became the main hymn (Hauptlied) for Advent.

question: Which of Luther's hymn was the main one for Advent?, context: 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.


Question: What was the hymn based on?

Answer: Veni redemptor gentium

Luther wrote "Ach Gott, vom Himmel sieh darein" ("Oh God, look down from heaven"). <hl> "Nun komm, der Heiden Heiland" (Now come, Savior of the gentiles), based on Veni redemptor gentium , became the main hymn (Hauptlied) for Advent. <hl> 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 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 <hl> Veni redemptor gentium <hl>, 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.

"Nun komm, der Heiden Heiland" (Now come, Savior of the gentiles), based on <hl> Veni redemptor gentium <hl> , became the main hymn (Hauptlied) for Advent.

question: What was the hymn based on?, context: 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.


Question: What is a Hauptlied?

Answer: main hymn

Luther wrote "Ach Gott, vom Himmel sieh darein" ("Oh God, look down from heaven"). <hl> "Nun komm, der Heiden Heiland" (Now come, Savior of the gentiles), based on Veni redemptor gentium, became the main hymn (Hauptlied) for Advent. <hl> 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 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 <hl> main hymn <hl> (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.

question: What is a Hauptlied?, context: 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.


Question: How many hymns did Luther write based on the Ten Commandments?

Answer: two hymns

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"). <hl> He wrote two hymns on the Ten Commandments, "Dies sind die heilgen Zehn Gebot" and "Mensch, willst du leben seliglich". <hl> 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 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 <hl> two hymns <hl> 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.

question: How many hymns did Luther write based on the Ten Commandments?, context: 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.


Question: What did Herr Gott, dich loben wir become known as ?

Answer: German Te Deum

It became known as the German Te Deum .

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. <hl> It became known as the German Te Deum . <hl>

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 <hl> German Te Deum <hl>.

It became known as the <hl> German Te Deum <hl> .

question: What did Herr Gott, dich loben wir become known as ?, context: 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.


Question: What does Luther's hymn Christ unser Herr zum jordan kam concern?

Answer: baptism

<hl> 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. <hl> 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 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 <hl> baptism <hl> 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.

question: What does Luther's hymn Christ unser Herr zum jordan kam concern?, context: 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.


Question: Whose tune did Luther adapt for the hymn of Psalm 67?

Answer: Johann Walter

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. <hl> 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. <hl> 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 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 <hl> Johann Walter <hl> 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.

question: Whose tune did Luther adapt for the hymn of Psalm 67?, context: 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.


Question: What is Psalm 67 about?

Answer: prayer for grace

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. <hl> 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. <hl> 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 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 <hl> prayer for grace <hl>; 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 adopted a preexisting Johann Walter tune associated with a hymnic setting of Psalm 67's <hl> prayer for grace <hl> ; Wolf Heintz's four-part setting of the hymn was used to introduce the Lutheran Reformation in Halle in 1541.

question: What is Psalm 67 about?, context: 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.


Question: What famous composer used a Lutheran hymn in his work?

Answer: J. S. Bach

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. <hl> 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. <hl>

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 <hl> J. S. Bach <hl>, 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.

Preachers and composers of the 18th century, including <hl> J. S. Bach <hl> , 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.

question: What famous composer used a Lutheran hymn in his work?, context: 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.


Question: Where was the baptismal hymn used to introduce the Reformation?

Answer: Halle

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. <hl> 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. <hl> 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 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 <hl> Halle <hl> 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.

question: Where was the baptismal hymn used to introduce the Reformation?, context: 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.


Question: Where were Luther's hymns included?

Answer: early Lutheran hymnals

<hl> Luther's hymns were included in early Lutheran hymnals and spread the ideas of the Reformation. <hl> 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 were included in <hl> early Lutheran hymnals <hl> 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.

question: Where were Luther's hymns included?, context: 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.


Question: How many hymns of Luther were included in the Achtliederbuch?

Answer: four

Luther's hymns were included in early Lutheran hymnals and spread the ideas of the Reformation. <hl> 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. <hl>

Luther's hymns were included in early Lutheran hymnals and spread the ideas of the Reformation. He supplied <hl> four <hl> 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.

question: How many hymns of Luther were included in the Achtliederbuch?, context: 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.


Question: How many hymns did Luther contribute to the Erfurt Enchiridion?

Answer: 18

Luther's hymns were included in early Lutheran hymnals and spread the ideas of the Reformation. <hl> 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. <hl>

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, <hl> 18 <hl> 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.

question: How many hymns did Luther contribute to the Erfurt Enchiridion?, context: 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.


Question: How many hymns did Luther write for the first choral hymnal?

Answer: 24

Luther's hymns were included in early Lutheran hymnals and spread the ideas of the Reformation. <hl> 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. <hl>

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 <hl> 24 <hl> of the 32 songs in the first choral hymnal with settings by Johann Walter, Eyn geystlich Gesangk Buchleyn, all published in 1524.

question: How many hymns did Luther write for the first choral hymnal?, context: 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.


Question: What was the title of the first choral hymnal?

Answer: Eyn geystlich Gesangk Buchleyn

Luther's hymns were included in early Lutheran hymnals and spread the ideas of the Reformation. <hl> 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. <hl>

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, <hl> Eyn geystlich Gesangk Buchleyn <hl>, all published in 1524.

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, <hl> Eyn geystlich Gesangk Buchleyn <hl> , all published in 1524.

question: What was the title of the first choral hymnal?, context: 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.


Question: What composer used Luther's hymns in his works?

Answer: Johann Sebastian Bach

Luther's hymns inspired composers to write music. <hl> 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. <hl>

Luther's hymns inspired composers to write music. <hl> Johann Sebastian Bach <hl> 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.

question: What composer used Luther's hymns in his works?, context: 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.


Question: What did Bach base entirely on Luther chorales?

Answer: chorale cantatas

Luther's hymns inspired composers to write music. <hl> 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) <hl> 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.

Luther's hymns inspired composers to write music. Johann Sebastian Bach included several verses as chorales in his cantatas and based <hl> chorale cantatas <hl> 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.

question: What did Bach base entirely on Luther chorales?, context: 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.


Question: What is the earliest that Bach began using Luther hymns?

Answer: 1707

Luther's hymns inspired composers to write music. <hl> 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. <hl>

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 <hl> 1707 <hl>, 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.

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 <hl> 1707 <hl> , 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.

question: What is the earliest that Bach began using Luther hymns?, context: 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.


Question: In what years did Bach use more of Luther's hymns in his compositions?

Answer: 1724 to 1725

Luther's hymns inspired composers to write music. <hl> 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. <hl>

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 (<hl> 1724 to 1725 <hl>) 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.

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 ( <hl> 1724 to 1725 <hl> ) 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.

question: In what years did Bach use more of Luther's hymns in his compositions?, context: 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.


Question: When was the last use by Bach of Luther's work?

Answer: 1735

Luther's hymns inspired composers to write music. <hl> 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. <hl>

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 <hl> 1735 <hl> Wär Gott nicht mit uns diese Zeit, BWV 14.

question: When was the last use by Bach of Luther's work?, context: 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.


Question: What did Luther believe that the soul does after death?

Answer: sleeps

<hl> In contrast to the views of John Calvin and Philipp Melanchthon, throughout his life Luther maintained that it was not false doctrine to believe that a Christian's soul sleeps after it is separated from the body in death; and, accordingly, he disputed traditional interpretations of some Bible passages, such as the parable of the rich man and Lazarus. <hl> This also led Luther to reject the idea of torments for the saints: "It is enough for us to know that souls do not leave their bodies to be threatened by the torments and punishments of hell, but enter a prepared bedchamber in which they sleep in peace." He also rejected the existence of Purgatory, which involved Christian souls undergoing penitential suffering after death. He affirmed the continuity of one's personal identity beyond death. In his Smalcald Articles, he described the saints as currently residing "in their graves and in heaven."

In contrast to the views of John Calvin and Philipp Melanchthon, throughout his life Luther maintained that it was not false doctrine to believe that a Christian's soul <hl> sleeps <hl> after it is separated from the body in death; and, accordingly, he disputed traditional interpretations of some Bible passages, such as the parable of the rich man and Lazarus. This also led Luther to reject the idea of torments for the saints: "It is enough for us to know that souls do not leave their bodies to be threatened by the torments and punishments of hell, but enter a prepared bedchamber in which they sleep in peace." He also rejected the existence of Purgatory, which involved Christian souls undergoing penitential suffering after death. He affirmed the continuity of one's personal identity beyond death. In his Smalcald Articles, he described the saints as currently residing "in their graves and in heaven."

question: What did Luther believe that the soul does after death?, context: In contrast to the views of John Calvin and Philipp Melanchthon, throughout his life Luther maintained that it was not false doctrine to believe that a Christian's soul sleeps after it is separated from the body in death; and, accordingly, he disputed traditional interpretations of some Bible passages, such as the parable of the rich man and Lazarus. This also led Luther to reject the idea of torments for the saints: "It is enough for us to know that souls do not leave their bodies to be threatened by the torments and punishments of hell, but enter a prepared bedchamber in which they sleep in peace." He also rejected the existence of Purgatory, which involved Christian souls undergoing penitential suffering after death. He affirmed the continuity of one's personal identity beyond death. In his Smalcald Articles, he described the saints as currently residing "in their graves and in heaven."


Question: What other doctrines did Luther disavow about saints?

Answer: idea of torments

In contrast to the views of John Calvin and Philipp Melanchthon, throughout his life Luther maintained that it was not false doctrine to believe that a Christian's soul sleeps after it is separated from the body in death; and, accordingly, he disputed traditional interpretations of some Bible passages, such as the parable of the rich man and Lazarus. <hl> This also led Luther to reject the idea of torments for the saints: "It is enough for us to know that souls do not leave their bodies to be threatened by the torments and punishments of hell, but enter a prepared bedchamber in which they sleep in peace." <hl> He also rejected the existence of Purgatory, which involved Christian souls undergoing penitential suffering after death. He affirmed the continuity of one's personal identity beyond death. In his Smalcald Articles, he described the saints as currently residing "in their graves and in heaven."

In contrast to the views of John Calvin and Philipp Melanchthon, throughout his life Luther maintained that it was not false doctrine to believe that a Christian's soul sleeps after it is separated from the body in death; and, accordingly, he disputed traditional interpretations of some Bible passages, such as the parable of the rich man and Lazarus. This also led Luther to reject the <hl> idea of torments <hl> for the saints: "It is enough for us to know that souls do not leave their bodies to be threatened by the torments and punishments of hell, but enter a prepared bedchamber in which they sleep in peace." He also rejected the existence of Purgatory, which involved Christian souls undergoing penitential suffering after death. He affirmed the continuity of one's personal identity beyond death. In his Smalcald Articles, he described the saints as currently residing "in their graves and in heaven."

question: What other doctrines did Luther disavow about saints?, context: In contrast to the views of John Calvin and Philipp Melanchthon, throughout his life Luther maintained that it was not false doctrine to believe that a Christian's soul sleeps after it is separated from the body in death; and, accordingly, he disputed traditional interpretations of some Bible passages, such as the parable of the rich man and Lazarus. This also led Luther to reject the idea of torments for the saints: "It is enough for us to know that souls do not leave their bodies to be threatened by the torments and punishments of hell, but enter a prepared bedchamber in which they sleep in peace." He also rejected the existence of Purgatory, which involved Christian souls undergoing penitential suffering after death. He affirmed the continuity of one's personal identity beyond death. In his Smalcald Articles, he described the saints as currently residing "in their graves and in heaven."


Question: What did Luther expound happened to souls after death?

Answer: sleep in peace

In contrast to the views of John Calvin and Philipp Melanchthon, throughout his life Luther maintained that it was not false doctrine to believe that a Christian's soul sleeps after it is separated from the body in death; and, accordingly, he disputed traditional interpretations of some Bible passages, such as the parable of the rich man and Lazarus. <hl> This also led Luther to reject the idea of torments for the saints: "It is enough for us to know that souls do not leave their bodies to be threatened by the torments and punishments of hell, but enter a prepared bedchamber in which they sleep in peace ." <hl> He also rejected the existence of Purgatory, which involved Christian souls undergoing penitential suffering after death. He affirmed the continuity of one's personal identity beyond death. In his Smalcald Articles, he described the saints as currently residing "in their graves and in heaven."

In contrast to the views of John Calvin and Philipp Melanchthon, throughout his life Luther maintained that it was not false doctrine to believe that a Christian's soul sleeps after it is separated from the body in death; and, accordingly, he disputed traditional interpretations of some Bible passages, such as the parable of the rich man and Lazarus. This also led Luther to reject the idea of torments for the saints: "It is enough for us to know that souls do not leave their bodies to be threatened by the torments and punishments of hell, but enter a prepared bedchamber in which they <hl> sleep in peace <hl>." He also rejected the existence of Purgatory, which involved Christian souls undergoing penitential suffering after death. He affirmed the continuity of one's personal identity beyond death. In his Smalcald Articles, he described the saints as currently residing "in their graves and in heaven."

This also led Luther to reject the idea of torments for the saints: "It is enough for us to know that souls do not leave their bodies to be threatened by the torments and punishments of hell, but enter a prepared bedchamber in which they <hl> sleep in peace <hl> ."

question: What did Luther expound happened to souls after death?, context: In contrast to the views of John Calvin and Philipp Melanchthon, throughout his life Luther maintained that it was not false doctrine to believe that a Christian's soul sleeps after it is separated from the body in death; and, accordingly, he disputed traditional interpretations of some Bible passages, such as the parable of the rich man and Lazarus. This also led Luther to reject the idea of torments for the saints: "It is enough for us to know that souls do not leave their bodies to be threatened by the torments and punishments of hell, but enter a prepared bedchamber in which they sleep in peace." He also rejected the existence of Purgatory, which involved Christian souls undergoing penitential suffering after death. He affirmed the continuity of one's personal identity beyond death. In his Smalcald Articles, he described the saints as currently residing "in their graves and in heaven."


Question: What did Luther think of Purgatory?

Answer: rejected the existence

In contrast to the views of John Calvin and Philipp Melanchthon, throughout his life Luther maintained that it was not false doctrine to believe that a Christian's soul sleeps after it is separated from the body in death; and, accordingly, he disputed traditional interpretations of some Bible passages, such as the parable of the rich man and Lazarus. This also led Luther to reject the idea of torments for the saints: "It is enough for us to know that souls do not leave their bodies to be threatened by the torments and punishments of hell, but enter a prepared bedchamber in which they sleep in peace." <hl> He also rejected the existence of Purgatory, which involved Christian souls undergoing penitential suffering after death. <hl> He affirmed the continuity of one's personal identity beyond death. In his Smalcald Articles, he described the saints as currently residing "in their graves and in heaven."

In contrast to the views of John Calvin and Philipp Melanchthon, throughout his life Luther maintained that it was not false doctrine to believe that a Christian's soul sleeps after it is separated from the body in death; and, accordingly, he disputed traditional interpretations of some Bible passages, such as the parable of the rich man and Lazarus. This also led Luther to reject the idea of torments for the saints: "It is enough for us to know that souls do not leave their bodies to be threatened by the torments and punishments of hell, but enter a prepared bedchamber in which they sleep in peace." He also <hl> rejected the existence <hl> of Purgatory, which involved Christian souls undergoing penitential suffering after death. He affirmed the continuity of one's personal identity beyond death. In his Smalcald Articles, he described the saints as currently residing "in their graves and in heaven."

question: What did Luther think of Purgatory?, context: In contrast to the views of John Calvin and Philipp Melanchthon, throughout his life Luther maintained that it was not false doctrine to believe that a Christian's soul sleeps after it is separated from the body in death; and, accordingly, he disputed traditional interpretations of some Bible passages, such as the parable of the rich man and Lazarus. This also led Luther to reject the idea of torments for the saints: "It is enough for us to know that souls do not leave their bodies to be threatened by the torments and punishments of hell, but enter a prepared bedchamber in which they sleep in peace." He also rejected the existence of Purgatory, which involved Christian souls undergoing penitential suffering after death. He affirmed the continuity of one's personal identity beyond death. In his Smalcald Articles, he described the saints as currently residing "in their graves and in heaven."


Question: Where did Luther describe the resting place of the saints?

Answer: Smalcald Articles

In contrast to the views of John Calvin and Philipp Melanchthon, throughout his life Luther maintained that it was not false doctrine to believe that a Christian's soul sleeps after it is separated from the body in death; and, accordingly, he disputed traditional interpretations of some Bible passages, such as the parable of the rich man and Lazarus. This also led Luther to reject the idea of torments for the saints: "It is enough for us to know that souls do not leave their bodies to be threatened by the torments and punishments of hell, but enter a prepared bedchamber in which they sleep in peace." He also rejected the existence of Purgatory, which involved Christian souls undergoing penitential suffering after death. He affirmed the continuity of one's personal identity beyond death. <hl> In his Smalcald Articles , he described the saints as currently residing "in their graves and in heaven." <hl>

In contrast to the views of John Calvin and Philipp Melanchthon, throughout his life Luther maintained that it was not false doctrine to believe that a Christian's soul sleeps after it is separated from the body in death; and, accordingly, he disputed traditional interpretations of some Bible passages, such as the parable of the rich man and Lazarus. This also led Luther to reject the idea of torments for the saints: "It is enough for us to know that souls do not leave their bodies to be threatened by the torments and punishments of hell, but enter a prepared bedchamber in which they sleep in peace." He also rejected the existence of Purgatory, which involved Christian souls undergoing penitential suffering after death. He affirmed the continuity of one's personal identity beyond death. In his <hl> Smalcald Articles <hl>, he described the saints as currently residing "in their graves and in heaven."

In his <hl> Smalcald Articles <hl> , he described the saints as currently residing "in their graves and in heaven."

question: Where did Luther describe the resting place of the saints?, context: In contrast to the views of John Calvin and Philipp Melanchthon, throughout his life Luther maintained that it was not false doctrine to believe that a Christian's soul sleeps after it is separated from the body in death; and, accordingly, he disputed traditional interpretations of some Bible passages, such as the parable of the rich man and Lazarus. This also led Luther to reject the idea of torments for the saints: "It is enough for us to know that souls do not leave their bodies to be threatened by the torments and punishments of hell, but enter a prepared bedchamber in which they sleep in peace." He also rejected the existence of Purgatory, which involved Christian souls undergoing penitential suffering after death. He affirmed the continuity of one's personal identity beyond death. In his Smalcald Articles, he described the saints as currently residing "in their graves and in heaven."


Question: Who noticed that Luther's view of the soul after death differed from later theologians?

Answer: Franz Pieper

<hl> The Lutheran theologian Franz Pieper observed that Luther's teaching about the state of the Christian's soul after death differed from the later Lutheran theologians such as Johann Gerhard. <hl> Lessing (1755) had earlier reached the same conclusion in his analysis of Lutheran orthodoxy on this issue.

The Lutheran theologian <hl> Franz Pieper <hl> observed that Luther's teaching about the state of the Christian's soul after death differed from the later Lutheran theologians such as Johann Gerhard. Lessing (1755) had earlier reached the same conclusion in his analysis of Lutheran orthodoxy on this issue.

question: Who noticed that Luther's view of the soul after death differed from later theologians?, context: The Lutheran theologian Franz Pieper observed that Luther's teaching about the state of the Christian's soul after death differed from the later Lutheran theologians such as Johann Gerhard. Lessing (1755) had earlier reached the same conclusion in his analysis of Lutheran orthodoxy on this issue.


Question: What theologian differed in views about the soul from Luther?

Answer: Johann Gerhard

<hl> The Lutheran theologian Franz Pieper observed that Luther's teaching about the state of the Christian's soul after death differed from the later Lutheran theologians such as Johann Gerhard . <hl> Lessing (1755) had earlier reached the same conclusion in his analysis of Lutheran orthodoxy on this issue.

The Lutheran theologian Franz Pieper observed that Luther's teaching about the state of the Christian's soul after death differed from the later Lutheran theologians such as <hl> Johann Gerhard <hl>. Lessing (1755) had earlier reached the same conclusion in his analysis of Lutheran orthodoxy on this issue.

The Lutheran theologian Franz Pieper observed that Luther's teaching about the state of the Christian's soul after death differed from the later Lutheran theologians such as <hl> Johann Gerhard <hl> .

question: What theologian differed in views about the soul from Luther?, context: The Lutheran theologian Franz Pieper observed that Luther's teaching about the state of the Christian's soul after death differed from the later Lutheran theologians such as Johann Gerhard. Lessing (1755) had earlier reached the same conclusion in his analysis of Lutheran orthodoxy on this issue.


Question: Who else observed that Luther view of souls was different form later views?

Answer: Gerhard. Lessing

<hl> The Lutheran theologian Franz Pieper observed that Luther's teaching about the state of the Christian's soul after death differed from the later Lutheran theologians such as Johann Gerhard. Lessing (1755) had earlier reached the same conclusion in his analysis of Lutheran orthodoxy on this issue. <hl>

The Lutheran theologian Franz Pieper observed that Luther's teaching about the state of the Christian's soul after death differed from the later Lutheran theologians such as Johann <hl> Gerhard. Lessing <hl> (1755) had earlier reached the same conclusion in his analysis of Lutheran orthodoxy on this issue.

question: Who else observed that Luther view of souls was different form later views?, context: The Lutheran theologian Franz Pieper observed that Luther's teaching about the state of the Christian's soul after death differed from the later Lutheran theologians such as Johann Gerhard. Lessing (1755) had earlier reached the same conclusion in his analysis of Lutheran orthodoxy on this issue.


Question: When did Gerhard Lessing reach his conclusions about Luther?

Answer: 1755

The Lutheran theologian Franz Pieper observed that Luther's teaching about the state of the Christian's soul after death differed from the later Lutheran theologians such as Johann Gerhard. <hl> Lessing ( 1755 ) had earlier reached the same conclusion in his analysis of Lutheran orthodoxy on this issue. <hl>

The Lutheran theologian Franz Pieper observed that Luther's teaching about the state of the Christian's soul after death differed from the later Lutheran theologians such as Johann Gerhard. Lessing (<hl> 1755 <hl>) had earlier reached the same conclusion in his analysis of Lutheran orthodoxy on this issue.

Lessing ( <hl> 1755 <hl> ) had earlier reached the same conclusion in his analysis of Lutheran orthodoxy on this issue.

question: When did Gerhard Lessing reach his conclusions about Luther?, context: The Lutheran theologian Franz Pieper observed that Luther's teaching about the state of the Christian's soul after death differed from the later Lutheran theologians such as Johann Gerhard. Lessing (1755) had earlier reached the same conclusion in his analysis of Lutheran orthodoxy on this issue.


Question: Where did Luther say that the soul doesn't sleep, but rather has visions?

Answer: Commentary on Genesis

<hl> Luther's Commentary on Genesis contains a passage which concludes that "the soul does not sleep (anima non sic dormit), but wakes (sed vigilat) and experiences visions". <hl> Francis Blackburne in 1765 argued that John Jortin misread this and other passages from Luther, while Gottfried Fritschel pointed out in 1867 that it actually refers to the soul of a man "in this life" (homo enim in hac vita) tired from his daily labour (defatigus diurno labore) who at night enters his bedchamber (sub noctem intrat in cubiculum suum) and whose sleep is interrupted by dreams.

Luther's <hl> Commentary on Genesis <hl> contains a passage which concludes that "the soul does not sleep (anima non sic dormit), but wakes (sed vigilat) and experiences visions". Francis Blackburne in 1765 argued that John Jortin misread this and other passages from Luther, while Gottfried Fritschel pointed out in 1867 that it actually refers to the soul of a man "in this life" (homo enim in hac vita) tired from his daily labour (defatigus diurno labore) who at night enters his bedchamber (sub noctem intrat in cubiculum suum) and whose sleep is interrupted by dreams.

question: Where did Luther say that the soul doesn't sleep, but rather has visions?, context: Luther's Commentary on Genesis contains a passage which concludes that "the soul does not sleep (anima non sic dormit), but wakes (sed vigilat) and experiences visions". Francis Blackburne in 1765 argued that John Jortin misread this and other passages from Luther, while Gottfried Fritschel pointed out in 1867 that it actually refers to the soul of a man "in this life" (homo enim in hac vita) tired from his daily labour (defatigus diurno labore) who at night enters his bedchamber (sub noctem intrat in cubiculum suum) and whose sleep is interrupted by dreams.


Question: Who stated that John Jortin misunderstood Luther?

Answer: Francis Blackburne

Luther's Commentary on Genesis contains a passage which concludes that "the soul does not sleep (anima non sic dormit), but wakes (sed vigilat) and experiences visions". <hl> Francis Blackburne in 1765 argued that John Jortin misread this and other passages from Luther, while Gottfried Fritschel pointed out in 1867 that it actually refers to the soul of a man "in this life" (homo enim in hac vita) tired from his daily labour (defatigus diurno labore) who at night enters his bedchamber (sub noctem intrat in cubiculum suum) and whose sleep is interrupted by dreams. <hl>

Luther's Commentary on Genesis contains a passage which concludes that "the soul does not sleep (anima non sic dormit), but wakes (sed vigilat) and experiences visions". <hl> Francis Blackburne <hl> in 1765 argued that John Jortin misread this and other passages from Luther, while Gottfried Fritschel pointed out in 1867 that it actually refers to the soul of a man "in this life" (homo enim in hac vita) tired from his daily labour (defatigus diurno labore) who at night enters his bedchamber (sub noctem intrat in cubiculum suum) and whose sleep is interrupted by dreams.

question: Who stated that John Jortin misunderstood Luther?, context: Luther's Commentary on Genesis contains a passage which concludes that "the soul does not sleep (anima non sic dormit), but wakes (sed vigilat) and experiences visions". Francis Blackburne in 1765 argued that John Jortin misread this and other passages from Luther, while Gottfried Fritschel pointed out in 1867 that it actually refers to the soul of a man "in this life" (homo enim in hac vita) tired from his daily labour (defatigus diurno labore) who at night enters his bedchamber (sub noctem intrat in cubiculum suum) and whose sleep is interrupted by dreams.


Question: When did Blackburne make his argument about Luther and souls?

Answer: 1765

Luther's Commentary on Genesis contains a passage which concludes that "the soul does not sleep (anima non sic dormit), but wakes (sed vigilat) and experiences visions". <hl> Francis Blackburne in 1765 argued that John Jortin misread this and other passages from Luther, while Gottfried Fritschel pointed out in 1867 that it actually refers to the soul of a man "in this life" (homo enim in hac vita) tired from his daily labour (defatigus diurno labore) who at night enters his bedchamber (sub noctem intrat in cubiculum suum) and whose sleep is interrupted by dreams. <hl>

Luther's Commentary on Genesis contains a passage which concludes that "the soul does not sleep (anima non sic dormit), but wakes (sed vigilat) and experiences visions". Francis Blackburne in <hl> 1765 <hl> argued that John Jortin misread this and other passages from Luther, while Gottfried Fritschel pointed out in 1867 that it actually refers to the soul of a man "in this life" (homo enim in hac vita) tired from his daily labour (defatigus diurno labore) who at night enters his bedchamber (sub noctem intrat in cubiculum suum) and whose sleep is interrupted by dreams.

question: When did Blackburne make his argument about Luther and souls?, context: Luther's Commentary on Genesis contains a passage which concludes that "the soul does not sleep (anima non sic dormit), but wakes (sed vigilat) and experiences visions". Francis Blackburne in 1765 argued that John Jortin misread this and other passages from Luther, while Gottfried Fritschel pointed out in 1867 that it actually refers to the soul of a man "in this life" (homo enim in hac vita) tired from his daily labour (defatigus diurno labore) who at night enters his bedchamber (sub noctem intrat in cubiculum suum) and whose sleep is interrupted by dreams.


Question: Who pointed out that the passage under dispute actually refers to a living man?

Answer: Gottfried Fritschel

Luther's Commentary on Genesis contains a passage which concludes that "the soul does not sleep (anima non sic dormit), but wakes (sed vigilat) and experiences visions". <hl> Francis Blackburne in 1765 argued that John Jortin misread this and other passages from Luther, while Gottfried Fritschel pointed out in 1867 that it actually refers to the soul of a man "in this life" (homo enim in hac vita) tired from his daily labour (defatigus diurno labore) who at night enters his bedchamber (sub noctem intrat in cubiculum suum) and whose sleep is interrupted by dreams. <hl>

Luther's Commentary on Genesis contains a passage which concludes that "the soul does not sleep (anima non sic dormit), but wakes (sed vigilat) and experiences visions". Francis Blackburne in 1765 argued that John Jortin misread this and other passages from Luther, while <hl> Gottfried Fritschel <hl> pointed out in 1867 that it actually refers to the soul of a man "in this life" (homo enim in hac vita) tired from his daily labour (defatigus diurno labore) who at night enters his bedchamber (sub noctem intrat in cubiculum suum) and whose sleep is interrupted by dreams.

question: Who pointed out that the passage under dispute actually refers to a living man?, context: Luther's Commentary on Genesis contains a passage which concludes that "the soul does not sleep (anima non sic dormit), but wakes (sed vigilat) and experiences visions". Francis Blackburne in 1765 argued that John Jortin misread this and other passages from Luther, while Gottfried Fritschel pointed out in 1867 that it actually refers to the soul of a man "in this life" (homo enim in hac vita) tired from his daily labour (defatigus diurno labore) who at night enters his bedchamber (sub noctem intrat in cubiculum suum) and whose sleep is interrupted by dreams.