The term "Advent" comes from the Latin "adventus" or "coming," which in turn is based on the Greek word "parousia. This Greek term is also commonly used to refer to the Second Coming of Christ, which gives Advent an additional eschatological meaning: not only the birth, but also the coming of Christ at the end of time - and we could add as a third meaning the reception of Christ in the heart of the believer.
For Bach, the First Sunday of Advent was a "red letter day" that marked the beginning of the liturgical year, although Bach began his Leipzig cycle with the Trinity Season when he arrived at his new post in the summer of 1723.
In Leipzig, this was the only Sunday in Advent on which a cantata was performed, the other three Sundays being "tempus clausum" (a period of silence or penitence without music in the church). Bach would have appreciated this, as it gave him a break in which to prepare for the especially busy Christmas season.
In Lutheranism in Bach's day, Advent was a time of reflection and penitence (after all, Advent and the birth of Christ were made necessary by human sinfulness). It was characterized by sobriety, as was Christmas.
Bach had written several cantatas for the other Advent Sundays before coming to Leipzig, but since he could not perform them in their original form in Leipzig, he reused some of them on other occasions, with different texts. In these cases, the original cantatas have been lost. The situation is as follows: there are three Leipzig cantatas for the First Advent (one of which goes back to Weimar, and a second which is a reworking of a secular cantata), and one Weimar cantata for the Fourth Advent which has come down to us in its original form.
Advent I: Three cantatas survive, BWV 61, 62, and 36.
Advent I, the fourth Sunday before Christmas, marks the beginning of the new liturgical year. Bach wrote three cantatas for this day. "Nun komm, der Heiden Heiland" is Martin Luther's most famous hymn, based on the oldest known Christmas hymn, Veni Redemptor Gentium, from the 4th century. Bach based two cantatas on this hymn, a Weimar cantata to a text by Neumeister (BWV 61) and a chorale cantata written in Leipzig (BWV 62). As Thomaskantor, Bach repeated BWV 61 several times, the first time on November 28, 1723, so that it also belongs to the first cantata cycle. The third cantata for this Sunday, "Schwingt freudig euch empor," BWV 36, was first performed in 1731 and drew on material from several earlier congratulatory cantatas.
Advent II: A lost cantata, BWV 70a "Wachet! betet! betet! wachet!" from 1716. This cantata was expanded in 1723 to BWV 170 for Trinity XXVI. The music in its original form has been lost, so we will skip it here (it was included in its final form under Trinity XXVI).
Advent III: A lost cantata BWV 186a "Be not troubled, O soul". This cantata was expanded to BWV 186 in 1723 for Trinity VII. The music in its original form has been lost, so we will omit it here.
BWV 141 is sometimes mentioned here, but it is actually not a work by Bach, but by Telemann. Its attribution to Bach is incorrect.
Advent IV: One lost and one surviving cantata, BWV 147a and BWV 132. BWV 147a "Heart and Mouth and Deed and Life". This cantata was expanded to BWV 147 for the Visitation in 1723. The music in its original form has been lost, so we will skip it here.
BWV 132 "Bereitet die Wege, bereitet die Bahn". This is the only other Weimar Advent cantata that has survived in its original form (from 1715) and will be discussed below.
Readings for Advent I:
Romans 13:11–14, Night is advanced, day will come
Matthew 21:1–9, The entry into Jerusalem
Readings for Advent II:
Romans 15:4–13, Call of the Gentiles
Luke 21:25–36, Coming of the Son of man]
Readings for Advent III:
1 Corinthians 4:1–5, The ministry of faithful apostles
Matthew 11:2–10, John the Baptist in prison]
Readings for Advent IV:
Philippians 4:4–7, Be joyful in the Lord
John 1:19–28, Testimony of John the Baptist
Cantata Studies:
Bach Cantatas Website | Simon Crouch | Emmanuel Music | Julian Mincham | Wikipedia | Eduard van Hengel (in Dutch) | Bach Companion (Oxford U.P.) | Bach: The Learned Musician (Wolff) | Music in the Castle of Heaven (Gardiner)
[Entry into jerusalem by Giotto, 14th c.
Cantatas for Advent I:- Nun komm, der Heiden Heiland (I), BWV 61, 2 December 1714
Nun komm, der Heiden Heiland (Chorale fantasia)
Der Heiland ist gekommen (Recitative Tenor)
Komm, Jesu, komm zu deiner Kirche (Aria Tenor)
Siehe, ich stehe vor der Tür (Recitative Bass)
Öffne dich, mein ganzes Herze (Aria Soprano)
Amen, Amen, komm du schöne Freudenkrone (Chorale)
"Now come, Savior of the gentiles"
Text & translation
Scored for three vocal soloists (soprano, tenor and bass), violins, two violas, and basso continuo.
Chamber cantata composed in Weimar at a time Bach was influenced by French and Italian musical styles. It is one of the best known of all Bach's cantatas. The libretto is by Erdmann Neumeister, pastor in Hamburg, who pioneered a new form of cantata incorporating simple recitative and da capo arias in Italian operatic style, a new cantata form which Bach made his own. The cantata addresses, as John Eliot Gardiner states in Music in the Castle of Heaven "the hopes and fears of the Christian community in the context of Jesus' birth as the beginning of God's plan for our salvation" (p. 286).
The first movement, a chorale fantasia, is structurally based on a splendid French overture - after all, this Sunday formed the "overture" to the church year. But the use of a French overture may also point to the entry of Christ in Jerusalem, as it was under the majestic tones of such overtures that the French Sun King would make his triumphal entries into the opera house. With a magnificent French ouverture, J. S. Bach rolls out the carpet for the little child. The theme is that of Luther's most famous hymn Nun komm, der Heiden Heiland (itself an arrangement of the Latin hymn “Veni redemptor gentium”) with a typical dotted rhythm accompaniment. This is followed by a fugue (the fast part of the overture). In line with the meaning of "Advent," the keyword of this overture is "come."
The tenor recitative outlining the significance of the incarnation in C major (the savior making us his relatives), begins secco, but continues with an arioso, as in Italian opera. The ensuing aria, also in Italian style, is quite lovely, with a lush string accompaniment. It is in the rhythm of a gigue. The savior has created the Church to preserve his doctrine - the melody comes from above and goes to the bottom. The request is made to Jesus to come to his Church in the new year (meant is the new church year that started this day) and this is answered in the next recitative for bass as vox Christi, which also has some nice word-painting: the text (from Revelations 3:20) "Behold, I stand at the door and knock" is interestingly accompanied by "knocking" pizzicato strings. Here the librettist quotes from the Book of Revelation: "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," Revelation 3:20). The poet combines the ideas of Jesus' entry into Jerusalem and his promise to return with an invitation to enter the heart of the individual Christian.
The final aria is for soprano, in Bach's time a boy soprano, whose childlike voice would fit well to the delicate melody. As in other Bach cantatas, the soprano voice represents the individual soul as "ideal believer" and it responds to the invitation by the bass with the words "Öffne dich, mein ganzes Herze" (Open, my whole heart). A lovely and delicate aria.
The cantata closes with a grand harmonization of the last half of the chorale, "Wie schön leuchtet der Morgenstern" ("I am so impatient at Christ's coming"), which ends all too soon.
This Weimar cantata was also played in Leipzig during Bach's first cycle in 1723, on November 28, and probably in other years.
Bach wrote several organ chorales on the theme of "Nun komm der Heiden Heiland": for example, BWV 599, but also BWV 659, BWV 661 and the trio BWV 660. There is also a piano transcription by Busoni (of 659).
Video: Netherlands Bach Society - Interview conductor Van Veldhoven - Interview bass Harvey /
J.S. Bach Foundation (St. Gallen) - Workshop (in German) - Explanation "Bach Factory" (English) - Nun komm, der Heiden Heiland (II), BWV 62, 3 December 1724
Chorale: Nun komm, der Heiden Heiland
Aria (tenor): Bewundert, o Menschen, dies große Geheimnis
Recitative (bass): So geht aus Gottes Herrlichkeit und Thron
Aria (bass): Streite, siege, starker Held!
Recitative (soprano, alto): Wir ehren diese Herrlichkeit
Chorale: Lob sei Gott dem Vater ton
"Now come, Savior of the gentiles"
Text & translation
Scored for four vocal soloists (soprano, alto, tenor, and bass), a four-part choir, horn only to support the chorale melody, two oboes, two violins, viola, and basso continuo.
Bach's second chorale cantata based on Luther's famous Advent hymn follows - in contrast to BWV 61 - all eight verses of the chorale. That is to say, as was usual procedure in Bach's chorale cantatas of his second Leipzig year, Bach literally includes the first and last couplets of the chorale, and has the verses in-between reworked by a librettist into arias and recitatives.
An shimmering orchestral introduction leads into the opening chorale, which is in a lively and festive mood (but without trumpets as a sign of the sobriety of Advent). The old hymn tune is in four lines, the last one equal to the first. The instrumental ritornello of the opening chorus already quotes this line, first in the continuo, then slightly different in meter in the oboes, as a sort of pre-imitation of fragments of the chorale melody. Other than these quotes, the orchestra plays a free concerto with the oboes introducing a theme, the first violin playing figuration. The soprano sings the cantus firmus in long notes, while the lower voices prepare each entry in imitation.
The long and joyful tenor da capo aria celebrating the mystery of the coming of Christ "as the Supreme Ruler whose purity will be entirely unblemished" is in siciliano rhythm with string accompaniment, doubled in tutti-sections by the oboes.
After a recitative, the bass sings a pompous battle aria accompanied by all the string instruments in octaves, a virtuoso show piece about the "conquering hero." At the same time, the voice seems to battling with the strings which play fast figures.
This militaristic effusion ("muscular Christianity") is followed by a strongly contrasting duet for soprano and alto expressing thanks (this is officially a "recitative," but in fact more like an "arioso duet") and the cantata closes with a simple chorale harmonization, praising the holy trinity.
This cantata belongs to Bach's second Leipzig edition and was first performed on December 3, 1724; Bach repeated it in the period 1732-35.
Video: Netherlands Bach Society - Interview conductor Van Veldhoven - Interview bass Harvey - Schwingt freudig euch empor, BWV 36, 2 December 1731
Part I
Chorus: Schwingt freudig euch empor
Choral (soprano, alto): Nun komm, der Heiden Heiland
Aria (tenor): Die Liebe zieht mit sanften Schritten
Chorale: Zwingt die Saiten in Cythara
Part II
Aria (bass): Willkommen, werter Schatz!
Chorale (tenor): Der du bist dem Vater gleich
Aria (soprano): Auch mit gedämpften, schwachen Stimmen
Chorale: Lob sei Gott dem Vater ton
"Soar Joyfully Upwards"
Text & translation
Scored for four soloists—soprano, alto, tenor and bass—a four-part choir, two oboes d'amore, two violins, viola and basso continuo.
This cantata draws on material from earlier secular congratulatory cantatas, beginning with BWV 36c (1725). The text was probably written by Picander. The jubilant mood of the secular work was clearly in keeping with the atmosphere of the entry into Jerusalem, one of the readings for that Sunday. Instead of writing recitatives (there is no story in this cantata), Bach interpolated four chorale movements from two important Advent hymns, Luther's "Nun komm, der Heiden Heiland" and Nicolai's "Wie schön leuchtet der Morgenstern".
The joyful opening chorus has a wonderful "leaping" quality, with rapidly rising figures that demonstrate exultation. This is followed by the first setting of verses from Luther's chorale, an intimate duet for soprano and alto.
The ensuing tenor aria, accompanied by an oboe d'amore (literally, and here very aptly, "love oboe"), is a tender evocation of the entrance into Jerusalem, where Christ is personified as the Bridegroom of the soul. The first half of the cantata concludes with a simple four-part version of Philip Nicolai's "Wie schön leuchtet der Morgenstern".
The bass aria that opens the second part recaptures the joy of the opening chorus by singing a welcome to Christ. This is followed by another hymn stanza in which the tenor sings the chorale melody in long notes as a cantus firmus against two busy oboes d'amore. This is a bit of a shouting match, with martial music, in which the singer asks for help to keep the negative side of humanity (sin!) under control.
The final soprano aria, a berceuse, has a delicate, even haunting beauty. It is like pastoral adoration in which God's hand which sends the savior is praised with great intimacy. The singer turns against the previous rough and ready tumble and says that it is not necessary to shout, because God can hear weak voices just as well. This simple expression of faith is accompanied by a muted violin obbligato ("con sordino", so the "weak voice" is immeditaly acted upon). Another four-part setting of "Nun komm, der Heiden Heiland" concludes the cantata.
This sacred parody cantata was first performed in its present form on Advent Sunday, December 2, 1731. It is in two parts, one played before the sermon, the other after the sermon.
Video: J.S. Bach Foundation (St. Gallen) - Workshop (in German) - Contemplation (in German) / Netherlands Bach Society - Interviews with conductor Van Veldhoven, organist Van Doeselaar and organists/harpsichordists Belder/Henstra
[Jesus enters Jerusalem and the crowds welcome him, by Pietro Lorenzetti, 1320]
Cantata for Advent IV:
- Bereitet die Wege, bereitet die Bahn, BWV 132, 22 December 1715
Bereitet die Wege, bereitet die Bahn (Aria Soprano)
Willst du dich Gottes Kind und Christi Bruder nennen (Recitative Tenor)
Wer bist du? Frage dein Gewissen (Aria Bass)
Ich will, mein Gott, dir frei heraus bekennen (Recitative Alto)
Christi Glieder, ach bedenket (Aria Alto)
Ertöt uns durch deine Güte (Chorale)
"Prepare the paths, prepare the road"
Text & translation
Scored for four vocal soloists (soprano, alto, tenor and bass), oboe, two violins, viola, cello and basso continuo including bassoon.
Chamber cantata from Weimar (in Leipzig, the fourth Sunday of Advent was tempus clausum). The libretto by court poet Salomo Franck is based on the prescribed reading for the day, the testimony of John the Baptist. John the Baptist (1st century CE) was an ascetic preacher who used baptism as the central symbol of his messianic movement. He anticipated a messianic figure greater than himself, and so Christians commonly refer to John as the forerunner of Jesus, since John announces the coming of Jesus. Franck concluded the cantata with the fifth verse of Elisabeth Cruciger's hymn "Herr Christ, der einig Gotts Sohn" (1524).
The first movement of the cantata is an extended aria for soprano, with a beautifully flowing melody, accompanied by oboe d'amore. The text includes an exhortation to "prepare the way and the path as the Messiah approaches," which is undoubtedly meant figuratively as the path into the heart of the believer (the same passage from Isaiah appears at the beginning of Handel's Messiah). The aria contains long melismas on the word "Bahn," which may represent not only the "long way" but also the flowing of baptismal water.
A rather didactic recitative is followed by an austere bass aria with only continuo accompaniment, a reminder that Advent was a time of penance in the Lutheran Church. The text is based on the question "Who are you?" addressed to John the Baptist, and is also intended as a question to the congregation: "Ask your conscience whether you are false or true.
The alto recitative continues the penitential mood ("I regret my infidelity"). However, this is followed by a more optimistic alto aria in which the obbligato violin represents the cleansing effect of baptismal water ("By the fountain of blood and water your garments, stained by sin, will be made white"). The four-part setting of the closing chorale, "Ertöt uns durch deine Güte" (Mortify us through Your goodness), is lost, but can be taken from "Ihr, die ihr euch von Christo nennet", BWV 164, transposed to A major.
Video: J.S. Bach-Foundation (St. Gallen) - Workshop (in German) - Contemplation (in German) /
Netherlands Bach Society / Interview conductor (Bernardini) / Interview soprano (Doyle) / Interview bass (Wörner)
Bach Cantata Index