{{Short description|Church cantata by Johann Sebastian Bach}} {{other uses|Nun komm, der Heiden Heiland (disambiguation)}} {{Infobox Bach composition | title = {{nowrap|{{lang|de|Nun komm, der Heiden Heiland}}}} | bwv = 61 | type = Church cantata | image = Schlosskirche Weimar 1660.jpg | image_upright = 0.8 | caption = The Schlosskirche in Weimar | occasion = First Sunday in Advent | performed = {{Timeline-event|date={{Start date|1714|12|02|df=y}}|location=Weimar}} | movements = 6 | text_poet = Erdmann Neumeister | bible = {{Sourcetext|source=Bible|version=King James|book=Revelation|chapter=3|verse=20}} | chorale = {{plainlist| * {{based on|"{{langr|de|Nun komm, der Heiden Heiland}}"|Martin Luther}} * {{based on|"{{langr|de|Wie schön leuchtet der Morgenstern}}"|Philipp Nicolai}} }} | vocal = {{plainlist| * {{abbr|SATB|soprano, alto, tenor and bass}} choir * solo: soprano, tenor and bass }} | instrumental = {{hlist | 2 violins | 2 violas | continuo }} }} Johann Sebastian Bach composed the church cantata '''{{lang|de|Nun komm, der Heiden Heiland}}''' (Now come, Savior of the heathens),<ref name="Dellal" /> '''{{abbr|BWV|Bach-Werke-Verzeichnis (catalogue of Bach's works)}}{{nbsp}}61''', in Weimar for the first Sunday in Advent, the Sunday which begins the liturgical year, and first performed it there on {{nowrap|2 December}} 1714.
The cantata text was provided by Erdmann Neumeister, who quoted the Book of Revelation and framed his work by two hymn stanzas, the beginning of Martin Luther's "{{langr|de|Nun komm, der Heiden Heiland}}", the main hymn for Advent with a melody based on Medieval chant, and the end from Philipp Nicolai's "{{langr|de|Wie schön leuchtet der Morgenstern}}". The librettist developed his thoughts like a sermon. Bach structured the cantata in six movements, beginning with a chorale fantasia, followed by a series of alternating recitatives and arias, and concluded by a four-part chorale. He scored it for three vocal soloists (soprano, tenor and bass), strings and continuo. Bach led the first performance on 2 December 1714. As {{langr|de|Thomaskantor}}, director of music of the main churches of Leipzig, he performed the cantata again on 28 November 1723. {{TOC limit|3}}
== History and words == {{for|details on Bach's promotion|Erschallet, ihr Lieder, erklinget, ihr Saiten! BWV 172#Background}} {{for|the series of monthly cantatas|O heilges Geist- und Wasserbad, BWV 165#Monthly cantatas from 1714 to 1715}}
On 2 March 1714 Bach was appointed concertmaster of the Weimar court capelle of the co-reigning dukes Wilhelm Ernst and Ernst August of Saxe-Weimar. As concertmaster, he assumed the principal responsibility for composing new works, specifically cantatas for the {{langr|de|Schlosskirche}} (palace church), on a monthly schedule.<ref name="Koster" />
The exact chronological order of Bach's Weimar cantatas remains uncertain. Only four bear autograph dates. BWV 61 is dated 1714, with the liturgical designation "{{langr|de|am ersten Advent}}",<ref name="Dürr-Jones" /> the First Sunday of Advent.<ref name="Gardiner" /> The prescribed readings for the Sunday were from the Epistle to the Romans, "now is our salvation nearer" ({{Sourcetext|source=Bible|version=King James|book=Romans|chapter=13|verse=11|range=–14}}), and from the Gospel of Matthew, the Entry into Jerusalem ({{Sourcetext|source=Bible|version=King James|book=Matthew|chapter=21|verse=1|range=–9}}).
thumb|upright|Erdmann Neumeister, the librettist The cantata text was provided by Erdmann Neumeister, published in ''Geistliche Poesien'' in Frankfurt in 1714.<ref name="Wolff" /> He began and ended his work with a hymn stanza. "{{langr|de|Nun komm, der Heiden Heiland}}" is the main hymn for Advent, which Martin Luther had derived from the Latin {{langr|la|Veni redemptor gentium}}. Its melody is based on Medieval chant and supplies a "dark, imposing character".<ref name="Gardiner" /> For the conclusion, Neumeister chose the second part, the {{lang|de|Abgesang}}, of the seventh and final stanza of Philipp Nicolai's "{{langr|de|Wie schön leuchtet der Morgenstern}}".<ref name="Dürr-Jones" /><ref name="Wolff" /> The librettist quoted the Book of Revelation in the fourth movement: "{{langr|de|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.}}" – "Behold, I stand at the door and knock. Anyone that hears My voice and opens the door, to him I will enter and keep the evening meal with him and he with me." ({{Sourcetext|source=Bible|version=King James|book=Revelation|chapter=3|verse=20}}). The poet combined the ideas of Jesus' entry into Jerusalem and his promise to return with an invitation to enter the heart of the individual Christian. He developed his thoughts like a sermon, as the Bach scholar Alfred Dürr notes: mentioning that the arrival of Jesus brings blessing every day (movement 2), a prayer that Jesus may come to his congregation (movement 2), and in response to his statement of being at the door (movement 4) the opening of the heart of the individual Christian who knows about his sinfulness (movement 5).<ref name="Dürr-Jones" /> Bach had set one text by Neumeister before, possibly by 1713, in his cantata ''Gleichwie der Regen und Schnee vom Himmel fällt'', BWV 18.<ref name="Dürr-Jones" />
Because of Bach's liturgical designation, the performance can be precisely dated to 2 December 1714.<!-- However, the opening movement relates to an earlier undatable version of the work. 2015: no source yet--> As {{langr|de|Thomaskantor}}, director of music of the main churches of Leipzig, Bach performed the cantata again on 28 November 1723, beginning the first liturgical year in the new position.<ref name="Dürr-Jones" /> Bach paid attention to the exceptional occasion at beginning of the liturgical year, also when he composed later the chorale cantata ''Nun komm, der Heiden Heiland'', BWV 62 (1724), and ''Schwingt freudig euch empor'', BWV 36 (1731), which are all inspired by Luther's hymn. Bach also began his {{lang|de|Orgelbüchlein}} by a setting of the same tune.<ref name="Isoyama" /> In Leipzig, the first Sunday in Advent was the last chance to hear cantata music before Christmas, because ''tempus clausum'' was observed during Advent.<ref name="Gardiner" />
== Music == === Structure and scoring ===
Bach structured the cantata in six movements, beginning with chorale fantasia, followed by a series of alternating recitatives and arias and concluded by a chorale.<ref name="Dürr-Jones" /> He scored it for three vocal soloists (soprano (S), tenor (T) and bass (B)), and a Baroque instrumental ensemble of violins (Vl), two violas (Va), and basso continuo (Bc), including cello (Vc) and bassoon (Fg).<ref name="Bischof" /> The autograph score is titled: "Dominica 1. Adventus Xsti. / Nun komm der Heyden Heyland. / â . / due Violini / due Viole / Violoncello / è & / Fagotto. / Sopr: Alto. Tenore è Baßo / Col' / Organo. / da / Joh Sebast Bach / anno. / 1714".<ref name="Grob" /> The duration is given as 18 minutes.<ref name="Dürr-Jones" /> According to the Bach scholar Christoph Wolff, the use of two viola parts is French style.<ref name="Wolff" /> Dürr notes that perhaps the strings were doubled by oboes, at least in the Leipzig performance, in a practice that was "not always marked in the score".<ref name="Dürr-Jones" />
In the following table of the movements, the scoring, keys and time signatures are taken from Dürr, using the symbol for common time (4/4).<ref name="Dürr-Jones" /><ref name="Bischof" /> The continuo, playing throughout, is not shown.
{{Classical movement header | show_text_source = yes | work = ''Nun komm, der Heiden Heiland'' | instruments1 = Instruments }} {{Classical movement row | id = m1 | number = 1 | title = {{langr|de|Nun komm, der Heiden Heiland}} | text_source = Luther | type = Chorale fantasia | vocal = SATB | instruments1 = {{nowrap|2Vl 2Va Vc Fg}} | key = {{nowrap|A minor}} | time = {{plainlist| * {{music|common-time}} * 3/4 }} }} {{Classical movement row | id = m2 | number = 2 | title = {{langr|de|Der Heiland ist gekommen}} | text_source = Neumeister | type = Recitative | vocal = T | instruments1 = | key = C major | time = {{music|common-time}} }} {{Classical movement row | id = m3 | number = 3 | title = {{langr|de|Komm, Jesu, komm zu deiner Kirche}} | text_source = Neumeister | type = Aria | vocal = T | instruments1 = 2Vl 2Va (unis.) | key = C major | time = 9/8 }} {{Classical movement row | id = m4 | number = 4 | title = {{langr|de|Siehe, ich stehe vor der Tür}} | text_source = Neumeister | type = Recitative | vocal = B | instruments1 = 2Vl 2Va | key = | time = {{music|common-time}} }} {{Classical movement row | id = m5 | number = 5 | title = {{langr|de|Öffne dich, mein ganzes Herze}} | text_source = Neumeister | type = Aria | vocal = S | instruments1 = Vc | key = G major | time = {{plainlist| * 3/4 * {{music|common-time}} }} }} {{Classical movement row | id = m6 | number = 6 | title = {{langr|de|Amen, Amen, komm du schöne Freudenkrone}} | text_source = Nicolai | type = Chorale | vocal = SATB | instruments1 = 2Vl 2Va Fg | key = G major | time = {{music|common-time}} }} {{End}}
=== Movements ===
==== 1 ==== The first Sunday of Advent begins the liturgical year. Bach marked it by creating the opening chorus, "{{langr|de|Nun komm, der Heiden Heiland}}" (Now come, Saviour of the Gentiles),<ref name="Dürr-Jones" /> as a chorale fantasia in the style of a French overture, which follows the sequence slow – fast (fugue) – slow.<ref name="Gardiner" /><ref name="Mincham" /> In a French opera performance, the King of France would have entered during the overture; Bach greets a different king. Two of the four lines of the chorale melody<ref name="chorale melody" /> are combined in the first slow section, line three is treated in the fast section, and line four in the final slow section. The melody of line 1 is first presented in the continuo, then sung by all four voices one after another, accompanied by a solemn dotted rhythm in the orchestra. Line 2 is sung by all voices together, accompanied by the orchestra.<ref name="Dürr-Jones" /> Line 3 is a fast {{lang|it|fugato}}, with the instruments playing {{lang|it|colla parte}},<ref name="Dürr-Jones" /> marked "gai".<ref name="Gardiner" /> Line 4 is set as line 2.<ref name="Dürr-Jones" /> Wolff notes that Bach possibly followed the model of an opera by Agostino Steffani, ''Henrico Leone'', which uses a chorus in a French overture.<ref name="Wolff" />
==== 2 ==== The recitative for tenor, "{{langr|de|Der Heiland ist gekommen}}" (The Saviour has come),<ref name="Dürr-Jones" /> begins {{lang|it|secco}} but continues as an {{lang|it|arioso}}, with tenor and continuo imitating one another. This more lyrical style of recitative derives from early Italian operas and cantatas, where it was known as ''{{lang|it|mezz'aria}}'' – half aria.<ref name="Taruskin" />
==== 3 ==== The tenor aria, "{{langr|de|Komm, Jesu, komm zu deiner Kirche}}" (Come, Jesus, come to Your Church),<ref name="Dürr-Jones" /> is accompanied by the violins and violas in unison. It is written in the rhythm of a gigue, and the combination of voice, unison strings and continuo gives it the texture of a trio sonata. Dürr comments that the use of the unison string ritornello, played even during the vocal passages, provides a "rather pointedly strict and unified character".<ref name="Dürr-Jones" /> The musicologist Richard Taruskin commented: "This hybridization of operatic and instrumental styles is ... standard operating procedure in Bach's cantatas."<ref name="Taruskin" />
==== 4 ==== thumb|upright|John Eliot Gardiner, 2007 The quote from Revelation, "{{langr|de|Siehe, ich stehe vor der Tür und klopfe an}}" (See, I stand before the door and knock),<ref name="Dürr-Jones" /> is given as a recitative to the bass as the {{lang|la|vox Christi}} (voice of Christ). The knocking on the door is expressed by {{lang|it|pizzicato}} chords in the strings.<ref name="Dürr-Jones" /> Dürr notes: "The most expressive text-engendered declamation is here ingeniously melted down into a structure only ten bars long but of compelling musical logic."<ref name="Dürr-Jones" /> John Eliot Gardiner, who conducted the Bach Cantata Pilgrimage in 2000, compares it to an Emmaus scene in Bach's later cantata ''Bleib bei uns, denn es will Abend werden'', BWV 6, the "post-Resurrection appearance to the disciples" in ''Halt im Gedächtnis Jesum Christ'', BWV 67, even to "the entry of the Commendatore in Mozart’s opera ''Don Giovanni''.<ref name="Gardiner" /> Bach would later frequently use the bass as the voice of Christ, in his ''St Matthew Passion'' even with a similar string accompaniment.<ref name="Gardiner" />
==== 5 ==== The response to the invitation is the individual prayer of the soprano, "{{langr|de|Öffne dich, mein ganzes Herze}}" (Open, my whole heart).<ref name="Dürr-Jones" /> It is accompanied only by the continuo, with an adagio middle section.<ref name="Dürr-Jones" />
==== 6 ==== In the closing chorale, "{{langr|de|Amen, amen! Komm, du schöne Freudenkrone}}" (Amen, amen! Come, you fair crown of joy),<ref name="Dürr-Jones" /> Bach sets the ''Abgesang'' only of the final stanza of Nicolai's hymn. The musicologist Julian Mincham offers the thought: "Conceivably the most convincing explanation lies, as it so often does, within the text– ... do not delay, I await You longingly. The hymn tune itself, through its very abbreviation implies a sense of urgency and the feeling of being unable to defer any longer." In Bach's setting, the violin adds a jubilant fifth part to the four vocal parts.<ref name="Dürr-Jones" /> The violin has to "climb three octaves to convey the extent of the soul's longing for the joys of a future life and the prospect of Jesus returning at the end of time".<ref name="Gardiner" />
== Recordings ==
The listing is taken from the selection on the Bach Cantatas Website.<ref name="Oron" /> Vocal groups with one voice per part (OVPP) and instrumental groups playing period instruments in historically informed performances are marked by green background.
{{Cantata discography header | work=''Nun komm, der Heiden Heiland'' | show_choir_type=yes | instruments={{abbr|Instr.|Type of instruments }}}}
{{Cantata discography row | id = Kahlhöfer | title = ''J. S. Bach Collector's Series'' | conductor = {{sortname|Helmut|Kahlhöfer}} | choir = Kantorei Barmen-Gemarke | orchestra = Deutsche Bachsolisten | soloists = {{plainlist| * Ingeborg Reichelt * Theo Altmeyer * Eduard Wollitz }} | label = Bach Recordings | year = {{Start date|1966}} | choir_type = | orchestra_type = }} {{Cantata discography row | id = Richter | title = ''Bach Cantatas Vol. 1 – Advent and Christmas'' | conductor = {{sortname|Karl|Richter|dab=conductor}} | choir = Münchener Bach-Chor | orchestra = Münchener Bach-Orchester | soloists = {{plainlist| * Edith Mathis * Peter Schreier * {{nowrap|Dietrich Fischer-Dieskau}} }} | label = Archiv Produktion | year = {{Start date|1971}} | choir_type = | orchestra_type = }} {{Cantata discography row | id = Rilling | title = {{lang|de|Die Bach Kantate Vol. 16}} | conductor = {{sortname|Helmuth|Rilling}} | choir = Gächinger Kantorei | orchestra = Bach-Collegium Stuttgart | soloists = {{plainlist| * Helen Donath * Adalbert Kraus * Wolfgang Schöne }} | label = Hänssler | year = {{Start date|1974}} | choir_type = | orchestra_type = }} {{Cantata discography row | id = Rotzsch | title = ''Bach Made in Germany Vol. 4 – Cantatas VIII'' | conductor = {{sortname|Hans-Joachim|Rotzsch}} | choir = Thomanerchor | orchestra = Neues Bachisches Collegium Musicum | soloists = {{plainlist| * Arleen Augér * Peter Schreier * Siegfried Lorenz }} | label = Eterna | year = {{Start date|1981}} | choir_type = | orchestra_type = }} {{Cantata discography row | id = Koopman | title = ''J. S. Bach: Complete Cantatas Vol. 2'' | conductor = {{sortname|Ton|Koopman}} | orchestra = Amsterdam Baroque Orchestra & Choir | soloists = {{plainlist| * Barbara Schlick * {{nowrap|Christoph Prégardien}} * Klaus Mertens }} | label = Antoine Marchand | year = {{Start date|1995}} | choir_type = | orchestra_type = Period }} {{Cantata discography row | id = Suzuki | title = ''J. S. Bach: Cantatas Vol. 7 – BWV 61, 63, 132, 172'' | conductor = {{sortname|Masaaki|Suzuki}} | orchestra = {{nowrap|Bach Collegium Japan}} | soloists = {{plainlist| * Ingrid Schmithüsen * Makoto Sakurada * Peter Kooy }} | label = BIS | year = {{Start date|1997}} | choir_type = | orchestra_type = Period }} {{Cantata discography row | id = Leusink | title = ''Bach Edition Vol. 4 – Cantatas Vol. 1'' | conductor = {{sortname|Pieter Jan|Leusink}} | choir = Holland Boys Choir | orchestra = Netherlands Bach Collegium | soloists = {{plainlist| * Ruth Holton * Knut Schoch * Bas Ramselaar }} | label = Brilliant Classics | year = {{Start date|1999}} | choir_type = | orchestra_type = Period }} {{Cantata discography row | id = Gardiner | title = ''Bach Cantatas Vol. 13: Köln/Lüneburg / For the 1st Sunday in Advent / For the 4th Sunday in Advent'' | conductor = {{sortname|John Eliot|Gardiner}} | choir = Monteverdi Choir | orchestra = English Baroque Soloists | soloists = {{plainlist| * Joanne Lunn * Jan Kobow * Dietrich Henschel }} | label = Soli Deo Gloria | year = {{Start date|2000}} | choir_type = | orchestra_type = Period }} {{Cantata discography row | id = Harnoncourt | title = ''J. S. Bach: Cantatas'' | conductor = {{sortname|Nikolaus|Harnoncourt}} | choir = Arnold Schoenberg Chor | orchestra = Concentus Musicus Wien | soloists = {{plainlist| * Bernarda Fink * Werner Güra * Christian Gerhaher }} | label = Deutsche Harmonia Mundi | year = {{Start date|2006}} | choir_type = | orchestra_type = Period }} {{Cantata discography row | id = Milnes | title = ''Bach: Cantates pour la Nativité, Intégrale des cantates sacrées Vol. 4'' | conductor = {{sortname|Eric|Milnes}} | choir = | orchestra = Montréal Baroque | soloists = {{plainlist| * Monika Mauch * Matthew White * Charles Daniels * Harry van der Kamp }} | label = ATMA Classique | year = {{Start date|2007}} | choir_type = OVPP | orchestra_type = Period }} {{Cantata discography row | id = Kuijken | title = ''J. S. Bach: Cantatas for the Complete Liturgical Year Vol. 9'' | conductor = {{sortname|Sigiswald|Kuijken}} | choir = | orchestra = La Petite Bande | soloists = {{plainlist| * Gerlinde Sämann * Petra Noskaiová * Christoph Genz * Jan van der Crabben }} | label = Accent | year = {{Start date|2008}} | choir_type = OVPP | orchestra_type = Period }} {{End}}
== References ==
{{reflist | 30em | refs =
<ref name="Bischof">{{cite web | last = Bischof | first = Walter F. | url = http://webdocs.cs.ualberta.ca/~wfb/cantatas/61.html | title = BWV 61 Nun komm, der Heiden Heiland | publisher = University of Alberta | access-date = 23 November 2015 }}</ref>
<ref name="Dellal">{{cite web | last = Dellal | first = Pamela | author-link = Pamela Dellal | url = http://www.pameladellal.com/notes_translations/translations_cantata/t_bwv061.htm#pab1_7 | title = BWV 61 – Nun komm, der Heiden Heiland | date = 2021 | website = pameladellal.com | access-date = 23 December 2021 }}</ref>
<ref name="Dürr-Jones">{{cite book | last = Dürr | first = Alfred | author-link = Alfred Dürr | url = https://books.google.com/books?id=m9JuwslMcq4C&pg=PA75 | title = The Cantatas of J. S. Bach: With Their Librettos in German-English Parallel Text | year = 2006 | publisher = Oxford University Press | isbn = 0-19-929776-2 | pages = 23, 75–77, 233 }}</ref>
<ref name="Gardiner">{{Cite AV media notes | last = Gardiner | first = John Eliot | author-link = John Eliot Gardiner | url = https://www.hyperion-records.co.uk/dc.asp?dc=D_SDG162 | title = Johann Sebastian Bach (1685-1750) / Cantatas Nos 36, 61, 62, 70, 132 & 147 | publisher = Soli Deo Gloria (at Hyperion Records website) | date = 2009 | access-date = 31 December 2018 }}</ref>
<ref name="Grob">{{cite web | last = Grob | first = Jochen | url = http://www.s-line.de/homepages/bachdiskographie/textkangeist/bwv61text.html | title = BWV 61 / BC A 1 | publisher = s-line.de | date = 2014 | language = de | access-date = 24 November 2015 }}</ref>
<ref name="Isoyama">{{cite web | last = Isoyama | first = Tadashi | url = http://www.bach-cantatas.com/Pic-Rec-BIG/Suzuki-C07c%5BBIS-CD881%5D.pdf | title = BWV 61: Nun komm, der Heiden Heiland / (Now Come, Saviour of the Heathen) | publisher = Bach Cantatas Website | pages = 4–6 | date = 1998 | access-date = 24 November 2015 }}</ref>
<ref name="Koster">{{cite web | last = Koster | first = Jan | url = http://www.let.rug.nl/Linguistics/diversen/bach/weimar2.html | title = Weimar 1708–1717 | publisher = let.rug.nl | access-date = 16 December 2011 | archive-date = 28 March 2014 | archive-url = https://web.archive.org/web/20140328175204/http://www.let.rug.nl/Linguistics/diversen/bach/weimar2.html | url-status = dead }}</ref>
<ref name="Mincham">{{cite web | last = Mincham | first = Julian | url = https://www.jsbachcantatas.com/documents/chapter-29--bwv-61/ | title = Chapter 29 Bwv 61 – The Cantatas of Johann Sebastian Bach | publisher = jsbachcantatas.com | date = 2010 | access-date = 22 August 2022 }}</ref>
<ref name="Oron">{{cite web | last = Oron | first = Aryeh | url = http://www.bach-cantatas.com/BWV61.htm | title = Cantata BWV 61 Nun komm, der Heiden Heiland | publisher = Bach Cantatas Website | access-date = 23 November 2015 }}</ref>
<ref name="Taruskin">{{cite book | last = Taruskin | first = Richard | author-link = Richard Taruskin | year = 2010 | title = Music in the Seventeenth and Eighteenth Centuries | series = The Oxford History of Western Music | volume = 2 | pages = 348–353 | publisher = Oxford University Press | location = New York | isbn = 978-0-19-538482-6}}</ref>
<ref name="Wolff">{{cite web | last = Wolff | first = Christoph | author-link = Christoph Wolff | url = http://www.bach-cantatas.com/Pic-Rec-BIG/Koopman-C02-2c%5BAM-3CD%5D.pdf | title = Nun komm, der Heiden Heiland, BWV 61 | website = Bach Cantatas Website | page = 10 | date = 1995 | access-date = 24 November 2015 }}</ref>
<ref name="chorale melody">{{cite web | last1 = Braatz | first1 = Thomas | last2 = Oron | first2 = Aryeh | url = http://www.bach-cantatas.com/CM/Nun-komm.htm | title = Chorale Melodies used in Bach's Vocal Works / Nun komm, der Heiden Heiland | publisher = Bach Cantatas Website | date = 28 May 2006 | access-date = 26 November 2010 }}</ref>
}}
== Sources == * {{IMSLP|work=Nun komm, der Heiden Heiland, BWV 61 (Bach, Johann Sebastian)}} * [http://www.bach-digital.de/receive/BachDigitalWork_work_00000077?lang=en Nun komm, der Heiden Heiland BWV 61; BC A 1 / Sacred cantata (1st Sunday of Advent)] Bach Digital * [http://www.uvm.edu/~classics/faculty/bach/BWV61.html BWV 61 Nun komm, der Heiden Heiland]: English translation, University of Vermont
== External links == * [http://allofbach.com/en/bwv/bwv-61/ Nun komm, der Heiden Heiland, BWV 61]: performance by the Netherlands Bach Society (video and background information) {{Church cantatas by Johann Sebastian Bach}} {{Bach cantatas}} {{Advent}} {{Authority control}}
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Category:Church cantatas by Johann Sebastian Bach Category:1714 compositions Category:Advent music Category:Works based on the Book of Revelation