Oct. 27, 2023 - Pastor Brian Hamer

Jane Schatkin Hettrick

​When Martin Luther penned “Lord, Keep Us Steadfast in Thy Word” (TLH 261; cf. LSB 655) around 1541, Lutherans faced numerous threats, and needed to be unwavering in their faith. The Islamic Ottoman Empire was advancing on the West, having taken Buda (today Budapest), and were poised to seize Vienna. At the same time, the Catholic Church posed its own threat, in that Holy Roman Emperor Charles V was pressuring Lutherans to return to their “true faith.” In a further unholy alliance, King Francis I of France joined Sultan Suleiman against Charles V.  The Elector Friedrich directed Luther and John Bugenhagen (Wittenberg pastor, from1523 to1558), to instruct all pastors in Wittenberg to pray for protection against the Turks. In response, Luther wrote an “Admonition to pray against the Turks” (Vermahnung zum Gebet wider den Türken).
 
Thus surrounded by dangers, Luther was also inspired to write the hymn “Erhalt uns, Herr, bei deinem Wort.” Published in Joseph Klug’s Wittenberg Hymnal (1544), the heading designates it as “A children’s hymn to sing against the two archenemies of Christ and his Holy Church: the pope and the Turks” (Ein Kinderlied zu singen wider den zween Ertzfeinde Christi und seinen heiligen Kirchen, den Bapst und die Türcken). Scholars believe that Luther also composed the melody, known by the same title, Erhalt uns Herr. The following video of one movement of J. S. Bach’s cantata based on this hymn shows artwork from the sixteenth century that highlights Luther’s opponents and contextualizes this hymn as an imprecatory hymn against the enemies of Christ and His church. 

​It is derived from the Ambrosian hymn “Veni Redemptor Gentium” (Come, Savior of the Gentiles). An office hymn assigned for Advent, this chant was then well known in German-speaking areas. The same Latin hymn serves as the basis for Luther’s “Savior of the Nations, Come” (Nun komm’ der Heiden Heiland, TLH 95) and “Grant Peace, We Pray” (Verleih uns Frieden, LSB 778).            

Erhalt uns, Herr, bey deinem Wort                    Lord, keep us steadfast in Thy Word
Und stewr des Bapsts und Türken Mord.          and curb the murderous Pope and Turk
Die Jhesum Christum, deinen Son,                   who Jesus Christ, Thy Son
Wolten stürzen von deinem Thron.                    would thrust down from Thy throne.
 
Beweis dein Macht, Herr Jhesu Christ,             Show forth Thy might, Lord Jesus Christ;
Der du Herr aller Herren bist;                            for Thou art Lord of all Lords.
Beschirm dein arme Christenheit                      Protect Thine own poor Christendom,
Das sie dich lob in Ewigkeit!                              that it may praise Thee without end.
 
Gott heilger Geist, du Tröster werd,                  God, Holy Ghost, priceless Comforter,
Gib deim Volck einrley sinn auff Erd.                 give Thy people one mind on earth.
Sthe bey uns in der letzten Not.                        Stay with us in our final strife.
Gleit uns ins Leben aus dem Todt!                    Lead us out of death into life. 

The significance of this hymn goes beyond what is evident in The Lutheran Hymnal and other modern collections. For most of its history, it was considered a catechetical hymn. In three stanzas, it symbolizes the doctrine of the Trinity and summarizes the roots of the catechism. As in the Creeds, the three stanzas speak of God, Jesus Christ, and the Holy Ghost. Stanza 1 affirms the Word as the source of theology. In the 1544 Wittenberg hymnal, Erhalt uns Herr was placed after the six catechism hymns (the topics: ten commandments, creed, Lord’s Prayer, baptism, confession, Lord’s Supper; all but the baptism hymn found in TLH).  It was added to many editions of Luther’s Small Catechism with the heading “A Children’s Catechism Hymn.” It became part of the Catechismusexamen, which tested children of their knowledge of the faith. A much-loved hymn, it was widely sung at the end of public worship, usually before the benediction. Most modern Lutheran hymnals do not have a section dedicated to catechism hymns. In TLH Erhalt uns Herr appears in the section “Reformation”; LSB classifies it with “The Church Militant.” How fitting to hear it sung here by the “children” who attended a Lutheran youth gathering where worship was central to the event, rather than peripheral. 

Inevitably, Erhalt uns Herr was not without controversy. As one writer put it: “Luther did not mince words in this hymn.” In 1548 in Strassburg, singing the hymn was banned, and the penalty of violation was corporal punishment. In later years (17th-18th centuries), when the Muslim and Catholic threats had receded, different versions were written, in which the line with “murderous pope and Turk” was replaced with a statement about all the enemies of the church. Actually, today, Luther’s original language might again be suitable! In fact, the compilers of LSB received requests to reinstate it. Almost from the beginning, the text sparked imitations: hymns that began with the same or similar phrase, including one by Ludwig Helmbold (1532-98, author of some 100 Lutheran hymns): “Lord God, keep us for evermore / in plain catechism doctrine / that for the simple youth the world / through your Luther is made known.”  (Herr Gott, erhalt uns für und für / die schlechte Catechismus lehr, / Der jungen einfeltigen Welt / durch deinen Luther für gestelt, 1594) A Latin translation, Serva, Deus, verbum tuum, was also created (1544, Johann Stigel, crowned poet laureate by Charles V).
        
Over the years, the hymn was frequently expanded with more stanzas. Justus Jonas (a colleague of Luther in Wittenberg), added two, condemning the Council of Trent (1545-1563), which produced the Catholic response to Luther’s Reformation. The text was: “Destroy their onslaughts, Lord / and let them meet the same evil fate / let them fall into the snare / which for Thy Christians they prepare. //  So that  they may perceive / That Thou, our God, livest still, / And dost deliver mightily Thy flock / that dost put their trust in Thee.” (Jhr Anschleg, HERR, zu nichten mach / lass sie treffen die böse sach / Vnd stürtz sie in die gruben ein  / die sie machen den Christen dein. //  So werden sie erkennen doch / dass du, vnser Gott, lebest noch, / Vnd hilffst gewaltigk deiner schar / die sich auff dich verlasset gar.)  
 
The late 16th century brought about a third enemy for the list: the Calvinists. One version rendered the hymn as “Lord keep us steadfast in pure doctrine, a defense against the pope and Calvinist” (Erhalt uns Herr, bei reinem Lehr, dem Pabst und Calvinisten Wehr). Around 1590 an anonymous hymn to be sung to Luther’s melody parodied its first stanza as: “Lord keep us steadfast in thy Word / and curb the murderous Calvinist” (Erhalt uns Herr, bei deinem Wort, und steur des Calvinisten Mord). Probably published in Dresden, this hymn extended, as one writer noted, to a “staggering” 79 stanzas. Finally, the Catholic Church, which had lost many members to Lutheranism, blamed the enticing music of the new hymnody. Rather than produce their own catchy tunes, they adapted many Lutheran hymns for their own use. Where to find them? They just took them from published Lutheran collections. By tweaking a few words, they cleverly converted Lutheran texts into Catholic doctrine. To compile his hymnal Geistliche Lieder und Psalmen (1567), priest Johann Leisentritt borrowed from the Babstisches   Gesangbuch (1545), the last hymnal for which Luther contributed a preface. In Leisentritt’s version,  Erhalt uns Herr bey deinem Wort became “Lord, keep us steadfast by thy church, / protect us from all teachings of sects / thy church is one undivided / by thy cloak we know thee.” (Bey deiner Kirch erhalt uns Herr / behüt uns vor allr secten lehr / dein Kirch ist einig unzertrent / Bey deinem Rock man sie erkent.)  Along the way, Catholic versifiers also found ways to parody this popular hymn. From the early 18th century we have Erhalt uns Herr, bey deiner Wurst, sechs Maas die löschen einen den Durst (Lord keep us steadfast by thy sausage, six pints, they quench one’s thirst).
 
The last word, however, belongs to Luther, who always expected the devil’s tricks. The following poem appeared in the preface to the Klug hymnal (1543); it was reprinted on the title page of the Babstisches Gesangbuch:

​Dr. Jane Schatkin Hettrick, Director of Parish Music
Redeemer Lutheran Church
Bayside, New York
 
Professor Emeritus in Music
Rider University
 
Note: This article makes use of material from the chapter “Erhalt uns, Herr, bei deinem Wort” in Robin A. Leaver, Luther’s Liturgical Music and the entry “Lord, keep us steadfast in Your Word” in Joseph Herl, Peter C. Reske, and Jon D. Vieker, Lutheran Service Book: Companion to the Hymns, Volume 1. 

This prayer, intended to accompany the blessing of unborn children and their parents (courtesy of www.UnbornWordAlliance.com), expands on an aspect of the life and work of Christ that I had not considered in detail until I entered this small bookstore in Cambria, CA. We are all familiar with Luke’s infancy narrative, but have we stopped to consider that Jesus first came among us as the unborn Christ? How He was fully human, fully divine, and entirely unborn? And yet, the unborn Christ was no mere fetal tissue or clump of cells in the womb of the God-bearer. Rather, the yet unborn Christ was mighty to save us through childbearing. The Litany of the Unborn Christ Child concludes with three prayers, which will serve as the structure and musical inspiration for this issue of “Lifted Voice.” ​

It is common in the litany format to follow each petition with the Kyrie. This prayer connects the heart of Jesus in Mary’s womb to the heart “later emptied on the cross,” from whose tender mercies (misericordias Domini = “the merciful heart of the Lord”) we receive forgiveness for our own crimes against the unborn. How fitting for the country where Roe v. Wade (sixty million babies slaughtered) created a holocaust that makes Hitler’s efforts (six million Jews murdered) numerically tame by comparison! And so penitent sinners everywhere, confident in God’s merciful heart rather than their own sinful hearts, pray, “Lord, have mercy; Christ, have mercy; Lord, have mercy.”  

​Maurice Duruflé (1902–1986) was a French  composer,  organist, and teacher. His vocal output is a case of quality over quantity, with but a handful of choral works to his credit: one Requiem, four motets, one Mass, and one setting of the Lord’s Prayer. And yet, every single note is important, pregnant with musical merit and compositional genius. His setting of the Kyrie from Requiem, Opus 9, is based on a plainchant, heard here in augmented or long form in the brass section. The choir sings the melody, which is adapted from the plainchant. In my estimation, his use of the plainchant is liberating, rather than restricting, producing one of the most lyrical and captivating settings of the Kyrie in the history of sacred music.  
 ​

The language of this prayer echoes the content of Luke 1 and 2, including the good news that John and Christ were conceived in miraculous pregnancies (1:39–45) and that John would proclaim the salvation that would be fulfilled in Christ (1:76–79). Here is the antithesis to Eve giving birth to a murderer. Now, after long ages, life had come to Israel, even as all of Israel was reduced to two pregnancies. This message of peace and good will is for all men and is now proclaimed by all Christians, even when the unwanted are left on the door steps of Notre Dame Cathedral, as was the case with baby Quasimodo in Victor Hugo’s Hunchback of Notre Dame.  

The themes of peace and goodwill are evident in musical settings of Simeon’s canticle, which is sung as the Canticle at Vespers and Evening Prayer, after the Lord’s Supper, and of course within the Rite of Christian Burial. How important for grieving parents and communities to join Simeon to depart (i.e., to die) in peace, knowing that the deceased and the grieving have beheld salvation in the Christ child, and now rest in Him. Paul Smith’s setting--dissonant, ethereal, and sublime--captures the quiet confidence that the dying Christian has been granted in Christ alone. ​

That is to say, Eve is an icon of the consequences of the fall into sin, that is, pain in childbearing. In contrast to the first Eve, salvation arrived through the new and greater Eve, Mary, who gave birth to the Creator, who ushered in the New Creation. Thus woman is saved through the virgin birth of our Lord, to which all childbearing bears resemblance. Every child conceived in the womb has inherent worth and dignity every child is made in the image of God, which is mirrored in the face of Christ. The loss of a child is devastating to the descendants of Adam and Eve. But in Christ alone there is hope and healing, for He rescues our children from eternal death, grants the gifts of His mercy to all who grieve, and proclaims the message of peace and good will, even out of the mouths of babes.  ​

+ Jesus, conceived in love by God’s Spirit and the Virgin Mary / Have mercy upon us!  + ​