Sunday Bach - Advent 1

Today Advent begins, the official start of the Christmas season and also the beginning of the new liturgical year. Bach wrote three cantatas for this Sunday, and this year we'll listen to his first one, BWV 61, Nun komm, der Heiden Heiland (Come now, savior of the gentiles, Weimar 1714). This is a chorale cantata based on the hymn of the same name, written by Martin Luther. It's small, and written for a small ensemble - Bach had limited resources in Weimar - but it packs a punch. Here's musicologist Simon Crouch on the subject:

The opening chorus of cantata BWV 61 grandly introduces the tune of Luther's hymn tune Nun Komm der Heiden Heiland with a fine dotted rhythm accompaniment. Having got the theme out of the way, it's down to business with a fugue. It's nice to know that there are things in life that you can rely upon. A recitative is followed by a lovely tenor aria in triple time. The violins get a pretty and lush tune in accompaniment. Next a recitative. Usually I pass over recitatives without comment, after all a recit. is a recit. isn't it? This next one, though, is a peach. Pizzicato chords accompanying Behold, I stand at the door and knock. OK, so maybe it's corny but I like it. The final aria is given to the soprano soloist. This is a lovely and delicate aria and the soloist must show great sensitivity to get the most from it.

When I first heard Harnoncourt's recording in the Teldec series, I thought that the poor boy treble was badly under-rehearsed but I've grown to like it, since his slightly lispy voice makes it sound rather cute! Also, the words are Open wide, my heart, Jesus is coming and entering in, so it seems rather appropriate that it's sung by someone sounding sweet and innocent rather than sophisticated.

My only regret about the closing chorus is that it doesn't go on for longer. It's one of those off-to-the-races pieces upon which amateur choral societies love to work up a head of steam. A glorious ending!

Copyright © 1996 & 1998, Simon Crouch

Today's performance is again from the wonderful J.S. Bach Foundation of Trogen, Switzerland, led by musical director and conductor Rudolf Lutz. And if you're wondering at that awfully small orchestra, that's absolutely historically accurate; Bach scored this cantata for two violins, one viola, and continuo (continuo being the "rhythm section" of a Baroque ensemble, usually consisting of a keyboard instrument and one or more bass instruments, in this case organ, cello, double bass, and bassoon). Bach's career proved that you can create massive beauty with limited resources. Enjoy!

Photo © 2012 by A. Roy Hilbinger