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Congregational songs continued to reflect Biblical truths and Lutheran doctrine as reviewed in the Sunday, festivals, and seasons of the Church Year. The chorales of Luther and other early reformers remained at the core of common worship practice. They were supplemented in the 17th Century by the powerful hymns of Paul Gerhardt and Johann Franke. The chorales were set to music by Johann Crueger and others. Hymns that reflected the Pietistic movement also became very popular in the 18th Century and influenced all congregational song.
Subjective devotional songs of personal faith and commitment gradually supplemented the objective expression of faith that was the heart of the chorale. The melodies of the new songs were simpler and more predictable than those of their predecessors. The irregular rhythms of the old chorales were replaced by regular metrical rhythms that were now standard for new hymns and new versions of old chorales. Many of the new songs were more suitable for private devotion, which was thought by some to be of greater value than traditional, formal public worship. Characteristic hymns of the age include the following:
The most important Pietistic hymnal of the time was Geistreiches Gesangbuch (1704/1714) issued by Johann Freylinghausen and published from Halle, a center of Pietism. J.S. Bach, generally viewed as an orthodox church musician, participated in the publication of Musikalisches Gesangbuch (1736). This hymn book was edited by Georg C. Schemelli for private devotion and was designed to counteract Pietistic theology and practice. However, examination of the contents reveals that many of its texts displayed the hallmarks of Pietistic subjectivity in spite of its stated purpose. Two musical examples include songs from Schemelli Gesangbuch - "O Jesulein" (BWV 493) and "Liebster Herr Jesu" (BWV 484) by J. S. Bach] Thomas Kingo's hymnal of the 17th Century continued to be influential in Denmark and Norway. Typical of the Danish hymns of the time is "Who is this host arrayed in white?" by Hans A. Brorson (1694-1764). Swedish song is represented by Then Swenska Psalmbokan (1695). This hymnal was orthodox in nature and circulated in the Church of Sweden throughout the century. By popular demand hymnals with subjective, Pietistic texts were also published as supplements to this book, further reflecting the strength of the movement throughout Lutheranism.
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