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29
November 2020
Sunday
6:00 PM
Main Hall
plac Wolności 1, 50-071 Wrocław

Nun komm, der Heiden Heiland | online

Performers:

Andrzej Kosendiak – conductor
Aleksandra Turalska – soprano
Maciej Gocman – tenor
Jaromír Nosek – bass
NFM Boysʼ Choir
Małgorzata Podzielny – artistic direction of NFM Boys’ Choir
NFM Choir
Agnieszka Franków-Żelazny – artistic direction of NFM Choir
Wrocław Baroque Orchestra
Jarosław Thiel – artistic direction of Wrocław Baroque Orchestra
 

Programme:

J.S. Bach Nun komm, der Heiden Heiland BWV 61 – cantata for the first Sunday in Advent

Andrzej Kosendiak's Anniversary

The concert is available on:

 

 

 

Andrzej Kosendiak / fot. Łukasz Rajchert
Andrzej Kosendiak / fot. Łukasz Rajchert

The cantata Nun komm, der Heiden Heiland BWV 61 is one of Johann Sebastian Bach’s early works. It was premiered on 2 December 1714 in Weimar, where the composer served as concertmaster at the court of Prince Wilhelm Ernst. His duties included writing one cantata a month for the liturgy in the prince’s chapel. It was a very turbulent time for Bach. He hoped that the prince would appoint him kapellmeister after the death of the composer who had held this position previously. When this did not happen, an angry Bach handed in his notice so furiously that the prince, enraged by his arrogance, threw him into prison for a month. However, as for Bach’s work at that time, the period was very fruitful, and this cantata is a perfect example. The title is incipit and means “Saviour of the heathen, come now”. Bach used in this work religious poetry by Erdmann Neumeister.

The music is full of splendour and sparkle, which is announced by the French overture-style chorus opening the work (first a slow episode, then a fast episode, and finally a slow one again). During performances at the French court, it was the moment when the king entered the venue; however, the composer had in mind the coming of another king. He went even further. In the bass recitation, along with the words sung by Christ, “Here I am, I stand at the door and knock” in the part of the strings, a pizzicato imitating knocking is heard. The combination of the panache associated with the operatic style, the illustrative elements that appeal to the imagination and the wealth of emotions have made this cantata survive in the repertoire and delight generations of listeners.

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Wdrożenie e-usług w Filharmonii im. Witolda Lutosławskiego we Wrocławiu - etap 2 współfinansowany jest przez Unię Europejską ze środków Europejskiego Funduszu Rozwoju Regionalnego w ramach Regionalnego Programu Operacyjnego dla województwa dolnośląskiego na lata 2007 - 2013 oś priorytetowa 6. Wykorzystanie i promocja potencjału turystycznego o kulturalnego Dolnego Śląska (Turystyka i Kultura), działanie 6.5. Działania wspierające infrastrukturę turystyczną i kulturową.