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Many Lutheran musicians, building on old traditions, created new compositions for their congregations. New music for organ, choir, instruments, and the people fulfilled new possibilities. The giants of the age were Michael Praetorius, Samuel Scheidt, Johann Hermann Schein, and Heinrich Schuetz. Their music, and others', helped churches preserve the Gospel and give glory to God.
The Lutheran Reformation is closely allied with vernacular use in worship.
Luther always was concerned that worship be understood by the people and
that all could participate in their own language. As early as 1523, Luther
expressed the wish that "we had as many songs as possible in the
vernacular which the people could sing during Yet in his German Mass of 1523, Luther clearly expressed himself: "…in no wise would I want to discontinue the service in the Latin language" and "I do not agree with those who cling to one language and despise all others." (LW 53:63) Latin use continued in many places and ways-evident by the many collections of Latin motets, settings of the Ordinary and Proper texts of the Latin Mass, responsories, and canticles published throughout the 16th Century and beyond by prominent Lutheran composers. Vernacular use increased as the Reformation spread. However, as late as the time of Johann Sebastian Bach, churches in Leipzig still heard:
The use of Latin and German in 16th-Century Lutheran worship depicts the freedom and catholicity characterizing Lutheran worship then. Luther's attitude toward liturgical music is reflected in his comments about the former practices. "Let the old practice continue. Let the mass be celebrated with consecrated vestments, with chants and all the usual ceremonies . . ."[LW36:254] So, in his German Mass of 1526, Luther, with the assistance of Johann Walter and Conrad Rupsch, retained the old chant melodies-revised to better suit the German language. In both the Latin and German masses, the service was chanted throughout, including the lessons and collects. The liturgical music of the congregation consisted of singing hymns and chorales paraphrasing psalms or portions of the liturgy. The idea of through-composed liturgical music settings for congregation is a more recent development in Lutheranism. It was the chorale that was the heart of 16th Century congregation's song. Choir music was important in early Lutheran worship. Both of Luther's orders provided for choir participation. The organ's role was more limited. It intoned the pitch for congregational singing and played short versets based on designated chant tones. These alternated between choir and organ in canticle singing and parts of the Ordinary and Proper. The organ wasn't used to accompany congregational singing of the chorales.
The congregation sang them in unison, unaccompanied. Alternation was common
then. The organ might "sing" a stanza of a hymn by playing organ
settings of particular stanzas. The congregation followed along and meditated
on the text. A typical way of singing a chorale in alternation might be.
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