Martin Luther's Hymn: Great God What Do I See and Hear... Not Written by Luther?

My church uses the Trinity Psalter Hymnal. Recently, we sang, Great God, What Do I See and Hear! While singing, I noticed the hymn was credited to Martin Luther (even also alternatively titled, "Luther's Hymn"). What struck me about the hymn was the eschatological language:

Great God, what do I see and hear! The end of things created! The Judge of mankind doth appear on clouds of glory seated! The trumpet sounds; the graves restore the dead which they contained before: prepare, my soul, to meet him.

The dead in Christ shall first arise, at the last trumpet’s sounding, caught up to meet him in the skies, with joy their Lord surrounding; no gloomy fears their souls dismay; his presence sheds eternal day on those prepared to meet him.

But sinners, filled with guilty fears, behold his wrath prevailing; for they shall rise, and find their tears and sighs are unavailing: the day of grace is past and gone; trembling, they stand before the throne, all unprepared to meet him.

Great God, what do I see and hear! The end of things created! The Judge of mankind doth appear on clouds of glory seated! Beneath his cross I view the day when heav’n and earth shall pass away, and thus prepare to meet him.

Certainly as Luther's career progressed, his eschatological expectations did as well. For Luther, the world was on the verge of its end. However, this hymn just didn't sound like Luther to me. I had a brief discussion with a person after the service, and she posited Luther wrote the tune and someone else wrote the words, William B. Collyer. A cursory internet search reveals Collyer was partially the translator and partially the lyricist. 

Websites attribute the tune to Luther. While sometimes the words are attributed to Luther, they appear rather to have been partially penned by Lutheran pastor Bartholomäus Ringwaldt (1530-1599) and then later Collyer. This source explains:

"Great God, What Do I See and Hear?"
The history of this hymn is somewhat indefinite, though common consent now attributes to Ringwaldt the stanza beginning with the above line. The imitation of the "Dies Irae" in German which was first in use was printed in Jacob Klug's "Gesangbuch" in 1535. Ringwaldt's hymn of the Last Day, also inspired from the ancient Latin original, appears in his Handbuchlin of 1586, but does not contain this stanza. The first line is, "The awful Day will surely come," (Es ist gewisslich an der Zeit). Nevertheless through the more than two hundred years that the hymn has been translated and re-translated, and gone through inevitable revisions, some vital identity in the spirit and tone of the one seven-line stanza has steadily connected it with Ringwaldt's name. Apparently it is the single survivor of a great lost hymn-edited and altered out of recognition. But its power evidently inspired the added verses, as we have them. Dr. Collyer found it, and, regretting that it was too short to sing in public service, composed stanzas 2d, 3d and 4th. It is likely that Collyer first met with it in Psalms and Hymns for Public and Private Devotion, Sheffield 1802, where it appeared anonymously.

-snip-

Batholomew Ringwaldt, pastor of the Lutheran Church of Longfeld, Prussia, was born in 1531, and died in 1599. His hymns appear in a collection entitled Hymns for the Sundays and Festivals of the Whole Year.

Rev. William Bengo Collyer D.D., was born at Blackheath near London, April 14, 1782, educated at Homerton College and settled over a Congregational Church in Peckham. In 1812 he published a book of hymns, and in 1837 a Service Book to which he contributed eighty-nine hymns. He died Jan. 9, 1854.

THE TUNE.
Probably it was the customary singing of Ringwaldt's hymn (in Germany) to Luther's tune that gave it for some time the designation of "Luther's Hymn," the title by which the music is still known -an air either composed or adapted by Luther, and rendered perhaps unisonously or with extempore chords. It was not until early in the last century that Vincent Novello wrote to it the noble arrangement now in use. It is a strong, even-time harmony with lofty tenor range, and very impressive with full choir and organ or the vocal volume of a congregation. In Cheetham's Psalmody is it written with a trumpet obligato.

Vincent Novello, born in London, Sept. 6, 1781, the intimate friend of Lamb, Shelley, Keats, Hunt and Hazlitt, was a professor of music who attained great eminence as an organist and composer of hymn-tunes and sacred pieces. He was the founder of the publishing house of Novello and Ewer, and father of a famous musical family. Died at Nice, Aug. 9, 1861.

Conclusion
A closer look at the Trinity Psalter hymnal demonstrates careful documentation.  Stanza one is documented as "anon." (anonymous), though as explained above, Stanza one is probably from Ringwaldt. Stanza 2-4 are rightly attributed to Collyer. "Joseph Klug, Geistliche Lieder," is also referenced. Linking Klug with this German title is a reference to a hymnal of Luther's definitive hymns printed during his lifetime. Here's a 1535 edition. Note the similarities to this Lutheran hymnbook.

Luther Wrote "Away In a Manger"?

source

Here's one from a Roman Catholic discussion board about Luther being the possible author of Away in a Manger:

For several years, many traditional choir directors have refused to sing Away in a Manger because they think it was written by Luther. A bit of detective work done by researchers at the US Library of Congress finds Luther was not the author. Further, regardless of who the author is, there is no heresy contained within the stanzas but only a sweet song about baby Jesus.

This link provides information to dispel this myth:

So how did a hymn that first appeared in the United States at the end of the 19th century become connected to the 16th-century German reformer Martin Luther? 

The culprit who made the false association between “Away in a Manger” and Luther appears to have been James R. Murray (1841-1905), who in his Dainty Songs for Little Lads and Lasses (1887)—a most Victorian-sounding title—called it “‘Luther’s Cradle Hymn,’ composed by Martin Luther for his children and still sung by German mothers to their little ones.” However, no one has uncovered an original German version by the reformer. 

Gealy, citing a 1945 article by Richard S. Hill, noted that “illicit inferences” to Luther are partly due to “the association of the carol with the glorification of Luther’s family life as depicted in a series of sentimental engravings done in the early nineteenth century by G.F.L. König . . . [including one that portrayed] Luther with his family on Christmas Eve as frontispiece [for a Christmas book].”

Theophilus Baker Stork (1814-1874), the author of this book, also wrote Luther at Home (1872), in which he stated, “Luther’s carol for Christmas, written for his own child Hans, is still sung.” The irony of this assertion is that we actually have a Luther hymn that may have been written for young Hans, “Von Himmel hoch da komm ich her” (1531), published in Joseph Klug’s Gesangsbuch (1535) and translated by Catherine Winkworth in 1885:

From Heaven above to earth I come,

To bear good news to every home;

Glad tidings of great joy I bring,

Whereof I now will say and sing.

Standards for attribution were much less rigorous before the 20th century. For example, in the 18th century, some works ascribed to J.S. Bach because of his stature were not written by the composer. Nineteenth-century shape-note tunebooks have vexed hymnologists for years as they have tried to discern authorship of specific tunes.

Here is "Luther's Cradle Hymn" from Dainty Songs for Little Lads and Lasses (1887). Note the text does read, "composed by Martin Luther for his children and still sung by German mothers to their little ones."

Here is Theophilus Baker Stork's comments from his book, Luther at Home:

Here is Gealy's comment:

Addendum
Here are some comments from Roland Bainton's Martin Luther's Christmas Book:

Lutheran Satire strikes again !

https://apologeticsandagape.wordpress.com/2016/12/12/funny-contrast-between-english-and-german-christmas-hymns/