Nun komm, der Heiden Heiland (BWV 599): Difference between revisions
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The following descending motive recurs multiple times in Bach's setting:<BR> | The following descending motive recurs multiple times in Bach's setting:<BR> | ||
[[File:Cross_motive.jpg]]<BR> | [[File:Cross_motive.jpg]]<BR> | ||
It is sometimes called the cross motive because of its resemblance to a cross. The large descent represents the upright part of the cross while the smaller ascents represent the transverse beam. Thus, this motive at once depicts two ideas: Christs descent into the world, and the cross that will ultimately be his death. The harsh chromatic nature of this motive and the piece in general serve to depict Christ's pain and suffering; He will descend into the world, and as Isaiah says, he will be "a man of sorrows, and acquainted with grief."<ref>Isaiah 53:3</ref> | It is sometimes called the cross motive because of its resemblance to a cross. The large descent represents the upright part of the cross while the smaller ascents represent the transverse beam. Thus, this motive at once depicts two ideas: Christs descent into the world, and the cross that will ultimately be his death. The harsh chromatic nature of this motive and the piece in general serve to depict Christ's pain and suffering; He will descend into the world, and as Isaiah says, he will be "a man of sorrows, and acquainted with grief."<ref>Isaiah 53:3</ref> The chromaticism may also be an allegory for the mystery of the incarnation of Christ and the Virgin birth. Indeed, as the piece progresses the recurring motive seems to mystify the entire meaning of the text. | ||
==Registration and Organs== | ==Registration and Organs== | ||
Revision as of 05:13, 4 February 2015
from Das Orgelbüchlein by Johann Sebastian Bach
Background
Nun komm, der Heiden Heiland is the quintessential Advent chorale. Martin Luther adapted this Lutheran chorale from the Latin chant Veni redemptor gentium by translating the eight verses into rhyming metric poetry in German and adusting the melody to fit the style of his time. The text of the first stanza is translated to English as follows:
Come now, Savior of the nations,
revealed as the Son of the Virgin.
All the world is amazed
that God gave Him a birth such as that.[1]
The following descending motive recurs multiple times in Bach's setting:
It is sometimes called the cross motive because of its resemblance to a cross. The large descent represents the upright part of the cross while the smaller ascents represent the transverse beam. Thus, this motive at once depicts two ideas: Christs descent into the world, and the cross that will ultimately be his death. The harsh chromatic nature of this motive and the piece in general serve to depict Christ's pain and suffering; He will descend into the world, and as Isaiah says, he will be "a man of sorrows, and acquainted with grief."[2] The chromaticism may also be an allegory for the mystery of the incarnation of Christ and the Virgin birth. Indeed, as the piece progresses the recurring motive seems to mystify the entire meaning of the text.
Registration and Organs
For a meditative interpretation: flutes 8', 8' & 4', or 8', 4', 2'; principal 8';[3] or German Baroque-style string stops, with balanced pedal built on a 16' foundation. For a more jubilant interpretation use some sort of plenum (principals 8' through 2' or chorus mixture). [4] [5]
Fingering and Pedaling
Quentin Faulkner has supplied early fingering and pedaling for this piece in the Leupold edition.
Articulation and Phrasing
Replace this text with any specific information on articulation and phrasing
Ornamentation
Replace this text with any specific information on ornamentation
Tempo and Meter
Replace this text with any specific information on tempo and meter
Scores and Editions
media:bach_orgelbuchlein_01_nun_komm.pdf
- Free download of Bach Gesellschaft edition.
Recordings
Replace this text with any specific information on recordings
Free Online
James Kibbie, 1717 Trost organ, St. Walpurgis, Großengottern, Germany, using Lieblichgedackt 8' and Flötuse 4' in the Positiv; Subbaß 16' and Bordunbaß 8' in the Pedal.
Pay to Listen
William Porter at the 1723 Hildebrandt at Störmthal., including 10 other pieces from Das Orgelbuchlein.
Notes
- ↑ Johann Sebastian Bach: Orgelbuchlein. Ed. Robert Clark and John David Peterson. St. Louis, MO: Concordia, 1984.
- ↑ Isaiah 53:3
- ↑ Robert Clark master class, Brigham Young University, Jan. 11, 1996.
- ↑ J. S. Bach 1685-1750: Basic Organ Works. Historical Organ Techniques and Repertoire, vol. 2. Ed. Quentin Faulkner. Boston: Wayne Leupold Editions, 1997.
- ↑ Johann Sebastian Bach: Orgelbuchlein. Ed. Robert Clark and John David Peterson. St. Louis, MO: Concordia, 1984.
This space is for automatic insertion of footnotes. To enter a footnote from anywhere in the article, start by typing the tag <ref> and then enter the text, and type the tag </ref> to end the footnote. The footnote will then appear in this "Notes" section automatically.
