Why is a Hymn of Martin Luther (“A Mighty Fortress”) in Roman Catholic hymnals?

Back in 2012 I came upon a Roman Catholic asking a popular apologist,

Why do we have a hymn of heretic Martin Luther (“A Mighty Fortress”) in our Catholic hymnal? My protestant father sees this inclusion as implying that Holy Mother Church thinks Luther wasn’t “that bad.”

Documentation
Yes, it's true. There are a few distinctly Roman Catholic hymnals that have been used in Roman Catholic parishes containing A Mighty Fortress is Our God. This link claims A Mighty Fortress is "found in the Roman Catholic We Celebrate hymnal." When I searched for We Celebrate, I found a link to the 2017-2020 edition which appears not to contain A Mighty Fortress. Some searches indicate this particular hymnal is updated every three years, so it appears to have been removed?

However, I did locate the 1979 We Celebrate with Song, Companion Hymnal to We Celebrate, Seasonal Missalette. The preface states this compendium is for   

...appropriate issues of the WE CELEBRATE SEASONAL MISSALETTE, which, together with this hymnal, provides a total congregational worship aid. The missalette also provides all necessary service music. These two worship resources offer a treasury of songs unsurpassed in breadth, variety and propriety for liturgical and paraliturgical use.

As this link correctly points out, "... the melody is Luther’s, but only his first two lines and the last line of stanza one are in the lyric. The rest of the hymn (also a paraphrase of Psalm 46) was written by the 20th century Roman Catholic hymnwriter Omer Westendorf (1916-1997)."  In some of the hymnals, it explicitly and transparently says, "Lines 1 and 2, Martin Luther, 1483-1546" or "Opening lines: Martin Luther, 1483-1546 Remainder of hymn text: Omer Westendorf." However, these admissions neglect that the last line of stanza one is also Luther's ("On earth is found no equal"). Westendorf published his rendering of A Mighty Fortress in 1964:

 

Also interesting to note, the Roman Catholic version contains only three stanzas (not four). 

Context 

A Mighty Fortress Is Our God (Omer Westendorf adaptation)

1

A mighty fortress is our God, 

A bulwark never failing;

Protecting us with staff and rod,

In power all prevailing.

What if the nations rage

And surging seas rampage;

What though the mountains fall,

The Lord is God of all—

On earth is found no equal.

2

The waters of God’s goodness flow

Throughout the holy city,

And gladden hearts of those who know

Great tenderness and pity.

Though nations stand unsure,

God’s kingdom shall endure;

In power shall remain,

In peace shall ever reign,

God’s truth is everlasting.

3

God dwells with us and is our strength,

Our refuge in all danger;

When wars and tumults rage at length,

God’s kingdom knows no changer.

Be still, for God is near;

Be calm and do not fear;

Lift up your eyes above,

For God is Lord of love—

On earth is found no equal.

What's the difference between Luther and the Roman Catholic Rendering?
Beyond the fact that Luther's original words have been almost entirely scrubbed away by Omer Westendorf, what are the most significant differences? The most blatant differences are Luther's reference to the Devil and Christ victorious over the devil and Westendorf's lack thereof:

Luther, stanza 1: "For still our ancient foe does seek to work us woe; his craft and power are great, and armed with cruel hate, on earth is not his equal."

Westendorf, stanza 1:"What if the nations rage, And surging seas rampage; What though the mountains fall, The Lord is God of all—On earth is found no equal."

Luther, stanza 2: Jesus Christ as victor on our side wins the battle against the devil.

Westendorf, stanza 2: Jesus Christ as victor on our side winning the battle against the devil is completely eliminated.

Luther, stanza 3: Jesus Christ as victor on our side wins the battle against the devil. Tedium: "one little word shall fell him," or "One word can overturn him" (LW 53:285); German text: "Ein wörtlein kan jn fellen" (WA 35:457). The "little word" according to Luther is "devil you lie" (LW 41:186).

Westendorf, stanza 3: Jesus Christ as victor on our side winning the battle against the devil is completely eliminated.

Luther, stanza 4: The Word and Spirit are proclaimed as complete victors, giving a Christian pilgrim this side of eternity the strength to endure the Devil's battle against them.

Westendorf, stanza 4: Stanza four is eliminated.

Conclusion: Which Version is Biblical? Luther's or Westendorf's?

 A debate between the renderings of Luther and Westendorf could be had over who is interpreting and rendering Psalm 46 correctly.

 A Mighty Fortress is our God was intended by Luther to be a reflection of Psalm 46. LW 53 says, "[Luther] did not write it to express his own feelings, but to interpret and apply the 46th Psalm to the church of his own time and its struggles" (LW 53:283). In Luther's defense, his interpretation certainly can be anchored from Psalm 46 and applied in a sixteenth century interpretative form describing the fortress of God as a refuge in the ultimate cosmic battle between the devil and Jesus Christ. This is expressly described in the New Testament (Eph. 6:12, 1 Pet. 5:8-9; John 8:44; Jam. 4:7; Matt. 16:23; Rom. 16:20; Eph. 6:11-16; 2 Cor. 5:10-11; Matt. 4:1-11; the Book of Revelation, etc.). While the devil is not overtly mentioned in Psalm 46, Luther rightly interpreted the devil as being behind trouble, the natural ravages of the earth, and the raging of heathens and their kingdoms. Psalm 46 responds that God wins. He will be exalted in the earth. He is refuge and strength, a very present help in trouble...  the God of Jacob is our fortress, an eternal fortress. 

Omer Westendorf primarily pulled his lyrics directly from the words of Psalm 46. Since Psalm 46 does not mention the devil, neither did Westendorf.  He does use "staff and rod" from Psalm 23. Other than that, I don't see any significant deviation from the words of Psalm 46. His rendering of Psalm 46 could easily find a home in those churches dedicated to the primary use of Psalm singing. My opinion is surprisingly quite contrary to this Lutheran:

This [third] stanza is weird in its interpretation of Psalm 46, in its deviation from the spiritual warfare of the original hymn, and in its forced and trite language about nuclear disarmament and gun control.  Of course, the entire hymn never mentions Satan, the devils, or spiritual warfare.  It also never mentions Christ.  Unlike the powerful and defiant tone of Luther in the face of the loss of his daughter, this hymn sounds like a bloodless cerebral exercise: a college assignment in English Lit gone bad because of a looming deadline and the want of facility with language, not to mention a lack of life experience.

Luther’s A Mighty Fortress is a confessional and lyrical masterpiece that will continue to stand the test of time. Westendorf’s is an embarrassing dud: a clunker that will not likely survive until the next century.  Our Roman Catholic brothers would do better to either simply eliminate A Mighty Fortress all together, or just suck it up and include Luther’s original by way of appropriation.  Publishing this one was the worst of both worlds: keeping the name of the “arch-heretic” in their hymn.

Which version is right? Contrary to the Lutheran opinion above, I think both are  allowable! Martin Luther sought to apply Psalm 46 whereas Omer Westendorf sought to put the text of Psalm 46 to English lyrics. I've not come across any information suggesting that Westendorf had polemical motivations against Luther, although it's no secret Luther saw the papacy as being run by the devil. Was this the reason Westendorf changed Luther's words? I don't know. Perhaps Westendorf had ecumenical Leanings? His publishing date (1964) does fall between the years of the activity of Vatican II (1962-1965). It is curious that Westendorf commandeered Luther's hymn. I can understand the concerns of Roman Catholics finding it ironically or shockingly odd singing a tune penned by Martin Luther. On the other hand, Omer Westendorf's use of Luther's hymn may very well be an example of Thou shalt not steal.

Addendum #1: "One Little Word Shall Fell Him"

Question: Why does Luther say in this hymn, "One little word shall fell him" and then explain elsewhere the one little word is three words: "'Devil, you lie"? It's a figurative explanation. Picture Luther pointing at the devil and saying: "Liar!" 

"For all such books, even if there were as many as thousands of them written every day and every hour as von Wolfenbüttel has vices and lies, are very easily refuted with the single word, 'Devil, you lie,' just as that haughty beggar Dr. Luther sings so proudly and boldly in those words of his hymn, 'One little word shall fell him'" (LW 41:185-186).

"Denn solche Bücher alle, wenn derselben so viel tausend wären, als der zu Wolfenbüttel Lügen und Untugend an sich hat, und alle Tage und ſtunde ſo viel geſchrieben würden, ſind ſie doch leichtlich zuverantworten¹ mit einem wortlin, das heißt: Teuffel, du leugeſt, wie denn der hochmutige Bettler Doct. Luther in ſeinem liedlin ſtöltzlich und verdrießlich ſinget: 'Ein wörtlin kan jn fellen' (WA 51:469-470).

"This world’s prince accurst, Let him rage his worst, No hurt brings about; His doom it is gone out, One word can overturn him" (LW 53:285).

"Der Fürſt dieſer welt,wie ſaur er ſich ſtelt, thut er uns doch nicht, das macht er iſt gericht, Ein wörtlein kan jn fellen" (WA 35:456-457).

Addendum #2 The Main English Translations of A Mighty Fortress is Our God

Currently, there are two popular English translations of A Mighty Fortress is Our God (Ein feste Burg ist unser Gott). 

The first was put forth by Frederic Henry Hedge (Dec. 12, 1805 – Aug. 21, 1890). Hedge was not a Lutheran, but rather a Unitarian minister and heavily interested in Transcendentalism in the 1830's. His English rendering of A Mighty Fortress was released in 1853. This version can be found not only in some older Lutheran hymnals, but in many popular hymnals across denominations and non-denominations.

1. A mighty fortress is our God, a bulwark never failing; Our helper He, amid the flood of mortal ills prevailing: For still our ancient foe doth seek to work us woe; His craft and pow'r are great, and, armed with cruel hate, On earth is not his equal.

2. Did we in our own strength confide, our striving would be losing; Were not the right Man on our side, the Man of God's own choosing: Dost ask who that may be? Christ Jesus, it is He; Lord Sabaoth, His name, from age to age the same, And He must win the battle.

3. And though this world, with devils filled, should threaten to undo us, We will not fear, for God hath willed His truth to triumph through us: The Prince of Darkness grim, we tremble not for him; His rage we can endure, for lo, his doom is sure, One little word shall fell him.

4. That word above all earthly pow'rs, no thanks to them, abideth; The Spirit and the gifts are ours through Him who with us sideth: Let goods and kindred go, this mortal life also; The body they may kill: God's truth abideth still, His kingdom is forever.

The second rendering is used primarily in Lutheran churches. It is a composite translation, that is, a translation done by multiple people rather than a single person. This composite version was published in 1868 in the Church Book for the use of Evangelical Lutheran Congregations. This composite rendering is based on the 1831 English translation done by Thomas Carlyle (1795-1881) entitled, "A safe stronghold our God is still."

1. A mighty fortress is our God, A trusty shield and weapon; He helps us free from ev'ry need That hath us now o'ertaken. The old evil foe Now means deadly woe; Deep guile and great might Are his dread arms in fight; On earth is not his equal.

2. With might of ours can naught be done, Soon were our loss effected; But for us fights the valiant One, Whom God Himself elected. Ask ye, Who is this? Jesus Christ it is, Of Sabaoth Lord, And there's none other God; He holds the field forever.

3. Though devils all the world should fill, All eager to devour us, We tremble not, we fear no ill; They shall not overpow'r us. This world's prince may still Scowl fierce as he will, He can harm us none. He's judged; the deed is done; One little word can fell him.

4. The Word they still shall let remain Nor any thanks have for it; He's by our side upon the plain With His good gifts and Spirit. And take they our life, Goods, fame, child, and wife, Though these all be gone, our vict'ry has been won; The Kingdom ours remaineth.  

I have seen estimates that there are at least seventy English translations, but I could not verify this. It may come from this older source which provides a review of a number of English translations up to the twentieth century adding up to 68. 

Addendum #3 Ein feste Burg ist unser Gott (WA 35:455-457) and “Our God He Is a Castle Strong” (LW 53:283-285)

Here is a comparison of Ein feste Burg ist unser Gott from WA 35:455-457 and “Our God He Is a Castle Strong” from Luther's Works 53:283-285.

Ein feste Burg ist unser Gott (WA 35:455-457) 

1. Ein feste Burg ist unser Gott, ein gute Wehr und Waffen. Er hilft uns frei aus aller Not, die uns jetzt hat betroffen. Der alt böse Feind, mit Ernst er's jetzt meint; groß Macht und viel List sein grausam Rüstung ist,auf Erd ist nicht seinsgleichen.

2. Mit unsrer Macht ist nichts getan, wir sind gar bald verloren; es streit' für uns der rechte Mann, den Gott hat selbst erkoren. Fragst du, wer der ist? Er heißt Jesus Christ, der Herr Zebaoth, und ist kein andrer Gott; das Feld muß er behalten.

3. Und wenn die Welt voll Teufel wär und wollt uns gar verschlingen, so fürchten wir uns nicht so sehr, es soll uns doch gelingen. Der Fürst dieser Welt, wie sau'r er sich stellt, tut er uns doch nicht; das macht, er ist gericht': ein Wörtlein kann ihn fällen.

4. Das Wort sie sollen lassen stahn und kein' Dank dazu haben; er ist bei uns wohl auf dem Plan mit seinem Geist und Gaben. Nehmen sie den Leib, Gut, Ehr, Kind und Weib: laß fahren dahin, sie haben's kein Gewinn, das Reich muß uns doch bleiben.

 

“Our God He Is a Castle Strong” (LW 53:283-285)

1. Our God he is a castle strong, A good mail coat and weapon; He sets us free from every wrong that wickedness would heap upon, The old knavish foe, He means earnest now; Force and cunning sly His horid policy, on earth there's nothing like him. 

2. ’Tis all in vain, do what we can, Our strength is soon dejected. But He fights for us, the right man, By God himself elected. Ask’st thou who is this? Jesus Christ it is, Lord of Hosts alone, And God but him is none, So he must win the battle.

3. And did the world with devils swarm, All gaping to devour us, We fear not the smallest harm, Success is yet before us. This world’s prince accurst, Let him rage his worst, No hurt brings about; His doom it is gone out, One word can overturn him. 

 4. The word they shall allow to stand, Nor any thanks have for it; He is with us, at our right hand, With the gifts of his spirit. If they take our life, Wealth, name, child and wife—Let everything go:  They have no profit so; The kingdom ours remaineth.

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/