Nun Komm, der Heiden Heiland

Nun Komm, der Heiden Heiland

BWV 62 performed by the Netherlands Bach Society
conducted by Jos van Veldhoven
Walloon Church, Amsterdam

  • Menu
  • 1. Nun komm (Chorus)
  • 2. Bewundert, o Menschen (Aria)
  • 3. So geht aus (Recitative)
  • 4. Streite, siege, starker Held! (Aria)
  • 5. Wir ehren (Recitative)
  • 6. Lob sei Gott (Chorale)

Behind the music

Story
Story
Extra videos
Extra videos
Texts
Texts
Credits
Credits

Subdued festivity

In this Advent cantata, Bach juxtaposes the militancy and the vulnerability of the Messiah.

For Lutherans, the festive start to the liturgical year on the first Sunday of Advent had a hopeful character. After all, it was almost Christmas time. But this Sunday also heralded a period of austerity and reflection, which lasted until Christmas Day. Bach therefore orchestrated the enthusiastic and expectant opening of this cantata quite modestly. The festive timpani and trumpets are saved for the Nativity, although the chorale melody in the soprano is accompanied by a horn. The words of the cantata are derived from Luther’s Advent chorale Nun komm, der Heiden Heiland, which was well-known at the time. The first and the last movement follow Luther’s text literally, and the middle movements are based on it.
The worldly joy in anticipating the birth of Jesus is underlined by an extensive tenor aria in a dancing rhythm. Bach juxtaposes the militancy and the vulnerability of the Messiah. The bass sings a militant aria, whereby the strings play along with the continuo in fiery unison. However, this warlike idiom is immediately softened by a recitative, in which the soprano and alto shyly approach the crib hand in hand.

On his score, Bach wrote down all the elements of the service on the first Sunday of Advent in Leipzig: when the organist had to play what, when there were readings and prayers, and when it was the cantata’s turn, etc. He did the same on his score for BWV 61, which was also a cantata for the first Sunday of Advent. That would seem logical, as he wrote the piece in Weimar, and it was the first Advent cantata that he performed in Leipzig. In that case, it could well have served as a personal prompt. One year later, he was completely at home in the liturgical practice of Leipzig, so he probably no longer needed prompts. Maybe the notes were meant for someone who played the organ and conducted in Bach’s absence. That may have been the case, for instance, when the cantata was revived in 1736 and Bach was away giving an organ recital at the Church of our Lady in Dresden as the newly appointed court composer. 

BWV
62
Title
Nun komm, der Heiden Heiland
Genre
cantatas
Year
1724
City
Leipzig
Lyricist
Based on Luther’s Advent chorale 'Nun komm, der Heiden Heiland', 1524 – the first and last movement literally, and the rest in an adaptation by an anonymous lyricist
Occasion
first Sunday in Advent
First performance
3 December 1724, further performances in the years 1732-35 and 1736?

Extra videos

Conductor Jos van Veldhoven

“The instrumental introduction to the cantata is more an impression of an atmosphere than a treatment of the chorale melody - Jos van Veldhoven”

Bass Peter Harvey

“Bass Peter Harvey on the militant aria Streite, siege, starker Held!.”

Vocal texs

Original

1. Chor
Nun komm, der Heiden Heiland,
der Jungfrauen Kind erkannt,
des sich wundert alle Welt,
Gott solch Geburt ihm bestellt.

2. Arie (Tenor)
Bewundert, o Menschen,
dies grosse Geheimnis:
der höchste Beherrscher
erscheinet der Welt.
Hier werden die Schätze
des Himmels entdecket,
hier wird uns ein göttliches Manna bestellt,
o Wunder!
die Keuschheit wird gar nicht beflecket.

3. Rezitativ (Bass)
So geht aus Gottes Herrlichkeit und Thron
sein eingeborner Sohn.
Der Held aus Juda bricht herein,
den Weg mit Freudigkeit zu laufen
und uns Gefallne zu erkaufen.
O heller Glanz, o wunderbarer Segensschein!

4. Arie (Bass)
Streite, siege, starker Held!
Sei vor uns im Fleische kräftig!
Sei geschäftig, das Vermögen
in uns Schwachen
stark zu machen!

5. Rezitativ (Sopran, Alt)
Wir ehren diese Herrlichkeit
und nahen nun zu deiner Krippen
und preisen mit erfreuten Lippen,
was du uns zubereit';
die Dunkelheit verstört' uns nicht
und sahen dein unendlich Licht.

6. Choral
Lob sei Gott, dem Vater, g'ton,
lob sei Gott, sein'm eingen Sohn,
lob sei Gott, dem Heilgen Geist,
immer und in Ewigkeit!

Translation

1. Chorus 
Come now, Saviour of the gentiles, 
recognised as the Virgin’s child, 
all the world stands amazed 
that God ordained Him such a birth. 

2. Aria 
Marvel, O men, 
at this great mystery: 
the greatest Ruler appears 
to the world. 
The treasures of heaven 
are revealed here, 
divine manna is ordained for us here, 
O wonder! 
Chasteness is quite unblemished. 

3.Recitative 
From God’s great majesty and throne, 
His only-begotten Son goes forth. 
The hero from Judah appears, 
to run His course with gladness 
and to redeem us fallen ones. 
O bright gleam! 
O wondrous sign of grace! 

4.Aria 
Fight, conquer, mighty hero! 
Be strong for us in the flesh! 
Strive to strengthen 
the power 
in us feeble ones! 

5.Recitative 
We honour this glory 
and now draw near Thy cradle 
and praise with voices of gladness 
what Thou hast brought us; 
darkness did not trouble us, 
and we saw Thy undying light. 

6. Chorale 
Praise be to God, the Father, 
praise be to God, His only Son, 
praise be to God, the Holy Ghost, 
always and eternally!

Credits

  • Release date
    5 December 2014
  • Recording date
    30 November 2013
  • Location
    Walloon Church, Amsterdam
  • Conductor
    Jos van Veldhoven
  • Soprano
    Zsuzsi Tóth
  • Alto
    Barnabás Hegyi
  • Tenor
    Nicholas Mulroy
  • Bass
    Peter Harvey
  • Ripieno soprano
    Lauren Armishaw, Annelies Brants
  • Ripieno alto
    Victoria Cassano McDonald, Elsbeth Gerritsen, Barnabás Hegyi
  • Ripieno tenor
    Robert Buckland, João Moreira
  • Ripieno bass
    Jelle Draijer, Lionel Meunier
  • Violin 1
    Shunske Sato, Anneke van Haaften, Annelies van der Vegt
  • Violin 2
    Sayuri Yamagata, Paulien Kostense, Lidewij van der Voort
  • Viola
    Staas Swierstra, Esther van der Eijk
  • Cello
    Lucia Swarts, Richte van der Meer
  • Double bass
    Maggie Urquhart
  • Oboe
    Frank de Bruine, Peter Frankenberg
  • Bassoon
    Benny Aghassi
  • Horn
    Erwin Wieringa
  • Harpsichord
    Siebe Henstra
  • Positive organ
    Pieter-Jan Belder
  • Church organ
    Leo van Doeselaar
  • Organ registration
    Paul Meerwijk
  • Concert production
    Marco Meijdam, Imke Deters
  • Producer
    Frank van der Weij
  • Film director
    Lucas van Woerkum
  • Director of photography
    Sal Kroonenberg
  • Camera
    Sal Kroonenberg, Jorrit Garretsen, Robert Berger, Benjamin Sparschuh
  • Film editors
    Lucas van Woerkum & Frank van der Weij
  • Music recording producer
    Leo de Klerk
  • Gaffer
    Alban Riphagen
  • Production assistant
    Zoë de Wilde
  • Score reader
    Jan Van den Bossche
  • Make up
    Marloes Bovenlander, Jamila el Bouch
  • Camera assistant
    Chris Tjong Ayong
  • Music producer's assistant
    Menno van Delft
  • Music recording assistants
    Jaap van Stenis, Jaap Firet, Bobby Verbakel, Luuk Hoogstraten
  • Music edit and mix
    Leo de Klerk, Frank van der Weij
  • Music edit & mix asssistant
    Martijn Snoeren
  • Interviews
    Onno van Ameijde
  • Colorist
    Jef Grosfeld
  • Acknowledgements
    Nienke Meuleman
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