If laymen are forbidden to preach and interpret the Scriptures, much more are they forbidden to sing publicly in the churches. As a result of their persecution, the Brethren in 1508 sent out messengers to search for true Christian people into whose communion they might apply for admission—one to Russia, one to Greece, one to Bulgaria, and one to Palestine and Egypt. All returned unsuccessful. No such Christians had been found. They therefore remained in their own country, giving themselves assiduously to the translation and printing of the Bible. In 1522 the Brethren sent two messengers to Luther to greet him and ask his advice. Luther became interested in them and welcomed their fellowship. He was impressed with the hymnbook the Brethren had published, and later used some of the hymns in his own work. Two centuries later, the Brethren, known now as the Moravians, settled on Count Zinzendorf’s estates in Saxony, spreading rapidly from thence into other countries in Europe and to the United States. One of England’s foremost hymn writers and hymnologists, James Montgomery, was an adherent to their faith. Bohemian Brethren and Moravian Hymns in the Hymnary Michael Weisse, 1480-1534, “Christ, the Lord, is ris’n again” (544) Tunes: “Mit Freuden Zart” (512), “Ravenshaw” (292) von Zinzendorf, Nikolaus L., 1700-60, “Jesus, still lead on” (574) von Zinzendorf, Christian R., 1724-62, “Man of sorrows” (537) Henriette Luise von Hayn, 1724-82, “I am Jesus’ little lamb” (430) James Montgomery, 1771-1854, “Hail to the Lord’s Anointed” (65) “Angels from the realms of glory” (81) “Go to dark Gethsemane” (107) and many others 6. Hymns of the Reformation: the German Chorales. The movement toward congregational singing, inaugurated by the Bohemian Brethren, was soon to be merged into the greater Reformation movement. Luther’s influence on the worship and music of the church was revolutionary. For a thousand years the laymen had had no part in church song. Congregational singing was unknown. Ambrosian music had at first been introduced for congregational use but it became more and more liturgical, thrusting the laity into the background. The Gregorian Chant which followed was never intended for use except by the priests and trained choirs. The followers of Hus pioneered in congregational singing; but it was Luther and his followers who brought it into full fruition. Luther was a born music lover and a musician of adequate training. Moreover he possessed a remarkable gift for writing hymns in clear thought to bring the Word of God home to the hearts of the common people. He and his followers put songs on the lips of the German people and they sang themselves into the Reformation. So effective were these songs that his enemies in the Roman church declared that “Luther’s songs have damned more souls than all his books and speeches.”