Nun komm, der Heiden Heiland, BWV 61

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Schlosskirche Weimar 1660

Nun komm, der Heiden Heiland, BWV 61 is a church cantata by Johann Sebastian Bach. It was composed in Weimar in 1714 for the first Sunday in Advent. The cantata is based on the Lutheran hymn "Nun komm, der Heiden Heiland," which is a translation of the Latin hymn "Veni Redemptor gentium" by Ambrose of Milan.

History and Context[edit | edit source]

Bach composed this cantata during his tenure as Konzertmeister at the Weimar Court. The cantata was first performed on December 2, 1714. The text for the cantata was provided by Erdmann Neumeister, a prominent German theologian and poet known for his contributions to the development of the cantata form.

Structure and Scoring[edit | edit source]

The cantata is scored for soloists, a four-part choir, and an orchestra consisting of strings and continuo. It is structured in six movements:

  1. Chorale: "Nun komm, der Heiden Heiland"
  2. Recitative (tenor): "Der Heiland ist gekommen"
  3. Aria (tenor): "Komm, Jesu, komm zu deiner Kirche"
  4. Recitative (bass): "Siehe, ich stehe vor der Tür und klopfe an"
  5. Aria (soprano): "Öffne dich, mein ganzes Herze"
  6. Chorale: "Amen, Amen"

Musical Analysis[edit | edit source]

The opening chorale is a majestic and solemn setting of the hymn tune, characterized by its rich harmonic texture and intricate counterpoint. The tenor recitative and aria that follow express a sense of anticipation and longing for the coming of the Savior. The bass recitative, quoting from the Book of Revelation, adds a dramatic and urgent tone to the cantata. The soprano aria is a lyrical and intimate plea for spiritual renewal, and the final chorale brings the work to a triumphant and affirmative conclusion.

Performance History[edit | edit source]

"Nun komm, der Heiden Heiland, BWV 61" has been performed and recorded by numerous ensembles and conductors, and it remains a staple of the Advent repertoire. It is often performed in the context of Bach's church cantatas and is appreciated for its theological depth and musical beauty.

See Also[edit | edit source]

References[edit | edit source]

External Links[edit | edit source]

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