rssPeople change and forget to tell each other. - Lillian Hellman
2010, August 12
Cantata BWV 61
JS Bach Cantata BWV 61: Nun komm, der Heiden Heiland
(Come Redeemer of the Gentiles)
First Sunday of Advent December day 1714
Weimar Cantatas
Scoring: Violin I,II, viola I,II, violoncello or bassoon and continuo (NBA: organ)
Soprano, Alto, Tenor, Bass
Bärenreiter vol 1; p 25
Reading: Epistle Romans 13:11-14 The night is far spent, the day is at hand
Reading: Gospel Matthew 21:1-9 Jesus' entry into Jerusalem
Words: Erdmann Neumeister
Bach Bibliography
Recordings
Christmas Cantatas
Conductor: Kevin Mallon
Soprano: Teri Dunn
Alto: Matthew White
Tenor: John Tessier
Bass: Steven Pitkanen
Orchestra/Ensemble: Aradia Baroque Ensemble
Naxos 8.554825
Date: January 2000
Review and sound samples here
Discussion
Literature
Dürr p 75-77
Whittaker vol 1 p 146
C.S. Terry vol 2 p 255
Robin A. Leaver in Boyd's Oxford Companion p 322
Green p 137
This cantata for the first Sunday in Advent opens the new church year, a very important occasion. Robin Leaver says that this is one of the best known of all Bach's cantatas, but it is new to me. He goes on to say that it was composed at a time when Bach was exploring French and Italian musical styles. Robin Leaver says that this is one of the earliest of Bach's cantatas in the new form, aria and recitative.
This is a very lovely short cantata; the sequence of movements tells a story.
1 Nun komm, der Heiden Heiland: Chorus
Bach opens and closes BWV 61 and BWV 36, both in the Advent season, with the same chorales. The opening chorale here is the first verse of Martin Luther's translation of a very old hymn 'Veni redemptor gentium', the principal hymn for Advent for many centuries. This movement is a combination of chorale and French Overture, which was played in the French opera as the king entered his royal box, here inviting the coming of the Savior.
2 Der Heiland ist gekommen: Tenor recitativ
This begins as a plain recitativ accompanied by chords, then in measure ten becomes a tenor arioso, a narrative describing the blessings brought by the Savior.
3 Komm, Jesu, komm zu deiner Kirche: Tenor aria
A plea to the Savior to come to the Church, the violins and violas together play a unison obbligato part.
4 Siehe, ich stehe vor der Tür und klopfe an: Bass recitativ with pizzicato strings
The Savior answers the call: 'I stand before the door and knock.' Dürr states that this is the true high point of the work; Whittaker says the gem of the cantata, indeed one of the most priceless treasures in them all is the ten bar recitativ.
The most expressive text-engendered declamation is here ingeniously melted down into a structure only ten bars long but of compelling musical logic.—Dürr p 77.
5 Öffne dich, mein ganzes Herze: Soprano aria
The soul, accompanied only by the continuo, responds to the Savior in a personal prayer, rather than the general prayer presented in the tenor aria.
6 Amen Amen: Chorale
The Amen refrain from How Brightly Beams the Morning Star. Terry discusses the chorales from this cantata in a PDF excerpt from vol. 2 of his work on the chorales. Green (p 138) states that the most difficult parts are for the violins. Dürr states that in later years Bach might have sought to avoid such mutilation (the use of only part of the chorale). Whittaker also deplores the use of only part of the chorale: The whole of Nicolai's melody would have made a magnificent conclusion.
Whittaker says, short and almost perfect...the cantata possesses all the freshness of youth...and there is something so winningly attractive about it that we can always turn to it with delight I agree, a most enjoyable cantata. I am constantly struck by Bach's infinite inventiveness.
The music
Here is a PDF of the cantata in old clefs.
Chorus, tenor recitativ, tenor aria
Bass recitativ, soprano aria, chorale
Instruments and voices for each part
| Section | Text | Instruments, voices |
|---|---|---|
| 1 | SATB, violin I,II, viola I,II, violoncello or bassoon and continuo (NBA: organ) | |
| 2 | Tenor recitative, continuo organ | |
| 3 | Revelation 3:20 | Tenor aria, violin I,II, viola I,II, and violoncello or organ |
| 4 | Bass recitative, violin I,II, viola I,II, violoncello and continuo organ | |
| 5 | Soprano aria, violoncello or organ | |
| 6 | SATB, violin I,II, unison on independent part, viola I,II with alto, tenor, bassoon with bass and continuo (NBA: organ) |
Biblical references for each part
References for the text: King James Bible, Luther's German Bible
| Scripture | Text | |
|---|---|---|
| 3 | Revelation 3:20 | Behold, I stand at the door, and knock: if any man hear my voice, and open the door, I will come in to him, and will sup with him, and he with me. |
| 3 | Revelation 3:20 | Siehe, ich stehe vor der Tür und klopfe an. So jemand meine Stimme hören wird und die Tür auftun, zu dem werde ich eingehen und das Abendmahl mit ihm halten und er mit mir. |
References
Emmanuel Notes BWV 61.
Emmanuel Translation BWV 61.
Discussion from Bach Cantatas Website.
Recordingsfrom Bach Cantatas Website.
Classical.net discussion, Simon Crouch.
London Bach Society Database entry BWV 61
