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###Input: Published at a time of rising demand for German-language publications, Luther's version quickly became a popular and influential Bible translation. As such, it made a significant contribution to the evolution of the German language and literature. Furnished with notes and prefaces by Luther, and with woodcuts by Lucas Cranach that contained anti-papal imagery, it played a major role in the spread of Luther's doctrine throughout Germany. The Luther Bible influenced other vernacular translations, such as William Tyndale's English Bible (1525 forward), a precursor of the King James Bible.

Luther was a prolific hymn-writer, authoring hymns such as "Ein feste Burg ist unser Gott" ("A Mighty Fortress Is Our God"), based on Psalm 46, and "Vom Himmel hoch, da komm ich her" ("From Heaven Above to Earth I Come"), based on Luke 2:11–12. Luther connected high art and folk music, also all classes, clergy and laity, men, women and children. His tool of choice for this connection was the singing of German hymns in connection with worship, school, home, and the public arena. He often accompanied the sung hymns with a lute, later recreated as the waldzither that became a national instrument of Germany in the 20th century.

Luther's hymns were frequently evoked by particular events in his life and the unfolding Reformation. This behavior started with his learning of the execution of Johann Esch and Heinrich Voes, the first individuals to be martyred by the Roman Catholic Church for Lutheran views, prompting Luther to write the hymn "Ein neues Lied wir heben an" ("A new song we raise"), which is generally known in English by John C. Messenger's translation by the title and first line "Flung to the Heedless Winds" and sung to the tune Ibstone composed in 1875 by Maria C. Tiddeman.

Luther's 1524 creedal hymn "Wir glauben all an einen Gott" ("We All Believe in One True God") is a three-stanza confession of faith prefiguring Luther's 1529 three-part explanation of the Apostles' Creed in the Small Catechism. Luther's hymn, adapted and expanded from an earlier German creedal hymn, gained widespread use in vernacular Lutheran liturgies as early as 1525. Sixteenth-century Lutheran hymnals also included "Wir glauben all" among the catechetical hymns, although 18th-century hymnals tended to label the hymn as Trinitarian rather than catechetical, and 20th-century Lutherans rarely use the hymn because of the perceived difficulty of its 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. Other 16th- and 20th-century versifications of the Lord's Prayer have adopted Luther's tune, although modern texts are considerably shorter.



###Question: At the time of Martin Luther what was in demand?

###Answer: {'answer':'German-language publications'}