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A Voice of Expectation Nun Komm, Der Heiden Heiland, BWV 61 Thursday, November 19, 2020 at 8 P.M

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A Voice of Expectation Nun Komm, Der Heiden Heiland, BWV 61 Thursday, November 19, 2020 at 8 P.M WASHINGTON BACH CONSORT Dana Marsh, Artistic Director A Voice of Expectation Nun komm, der Heiden Heiland, BWV 61 Thursday, November 19, 2020 at 8 p.m. on Facebook Sunday, November 22, 2020 at 5 p.m. on YouTube BACH INTERACTIONS Nine virtual programs offer some of the finest works in the cantata and oratorio repertory. You’ll WASHINGTON BACH enjoy the Washington Bach Consort as you’ve never heard them before, but you’ll also gain revelations CONSORT and insights into the music itself coming from our Soprano Amy Nicole Broadbent two resident Bach scholars, Michael Marissen and Countertenor Roger O. Isaacs Daniel R. Melamed. Supported in part by grants Tenor Matthew Hill from the National Endowment for the Humanities Bass Steven Combs and the J. Reilly Lewis Legacy Fund, Bach Violin Andrew Fouts, concertmaster Interactions is a new digital concert experience Tatiana Chulochnikova offering the expressive heights of Bach’s musical Viola Risa Browder language as well as the story behind its creation. Scott McCormick The series features three renowned cantatas, Violoncello John Moran Wachet auf, ruft uns die Stimme, BWV 140, Aus der Violone Jessica Powell Eig Tiefen rufe ich, Herr, zu dir, BWV 131, and Nun komm, Bassoon Anna Marsh der Heiden Heiland, BWV 61, followed by all six parts Organ Adam Pearl of Bach’s beloved Christmas Oratorio, BWV 248. Each part will be presented on its intended day of liturgical observance, over the twelve days of NOTES Christmas to the Feast of the Epiphany (January 6). “Nun komm, der Heiden Heiland” BWV 61, for the first Bach Interactions is supported by gifts from the Sunday in Advent, dates from the first job held by J. J. Reilly Lewis Legacy Fund and the National S. Bach in which he was required to compose church Endowment for the Humanities. music, the position of “Concertmeister” (leader of the band) to which he was promoted at the court of Saxe- Weimar. It thus represents one of his earliest cantatas OUR MISSION of the new type, incorporating not only scriptural text and hymn verses but also new poetry designed to be Founded in 1977 by the late Dr. J. Reilly Lewis, the set as recitatives and arias. Washington Bach Consort is a professional choral and orchestral ensemble based in Washington, The text is dominated by themes of beginning and of DC that is committed to ensuring that current and entering. The hymn stanza that opens the work is the future audiences experience the music of Johann first verse of a chorale that was almost always the first Sebastian Bach and his contemporaries, by: entry in a hymnal, designated for Advent, the beginning 1. performing the music of Bach and his of the liturgical year. The first aria invokes the New contemporaries to the highest artistic Year, another beginning. Calls for Jesus to “come” standards, resound throughout—in the cantata’s first word, in the 2. sharing the joy of Bach’s music by broadening opening of the first recitative, at the start of the first audiences in the nation’s capital, aria, in the second aria, and in the concluding chorale. 3. nurturing the appreciation of Bach’s music Images of entry include Jesus’ advent in the world, his through education and community outreach knocking at the door in the scriptural passage set like a activities, and picturesque recitative, and in the image in the second 4. interpreting the music of Bach for audiences aria of his entry and dwelling in the believer’s heart (a of today, thereby ensuring his legacy. typical Lutheran theme). Bach responds musically to these ideas. The first chorus is cast as the kind of instrumental work known as a French ouverture, with a slow, stately opening and a fast second section that begins with musical lines imitating each other. This type, borrowed from French court ballet and opera, signified the entrance 2 of the king, surely a meaning intended here, and chorale (actually just the last lines of a stanza of “Wie also represented the opening movement of several schön leuchtet der Morgenstern”) uses language that kinds of works. The recitative switches from free evokes the Song of Songs, its longing, and its calls of declamation to more regular and melodic writing at “come.” Bach works out the movement so that it ends the words “Du kommst” (You come), and repeats this with the soprano’s long descent to the hymn’s last text. Repetitions of the word “komm” punctuate the note—a decisive arrival of the kind wished for in the first half of the first aria. The second aria emphasizes cantata’s text. Daniel R. Melamed the words “Öffne dich” (Open!). And the closing PROGRAM Nun komm, der Heiden Heiland, BWV 61 Johann Sebastian Bach (1685–1750) Chorale | Recitative | Aria | Dictum | Aria | Chorale Michael Marissen, presenter 1. Nun komm, der Heiden Heiland, Now come, savior of the gentiles, Der Jungfrauen Kind erkannt, Known as child of the virgin; Des sich wundert alle Welt, Of this, all the world marvels: Gott solch Geburt ihm bestellt. God ordained him such a birth. 2. Der Heiland ist gekommen, The savior has come [from eternity]; Hat unser armes Fleisch Has taken on our wretched [temporal] flesh Und Blut an sich genommen And blood upon himself; Und nimmet uns zu Blutsverwandten an. And takes us on as blood relatives. O allerhöchstes Gut, Oh Most-High possession, Was hast du nicht an uns getan? What have you not done for us? Was tust du nicht What do you not Noch täglich an den Deinen? Still daily do for your own [people]? Du kommst und läßt dein Licht You come and let your light Mit vollem Segen scheinen. Shine with full blessing. 3. Komm, Jesu, komm zu deiner Kirche Come, Jesus, to your church Und gib ein selig neues Jahr! And grant a blessed new year. Befördre deines Namens Ehre, Promote your name’s honor, Erhalte die gesunde Lehre Uphold the sound teaching [of your church], Und segne Kanzel und Altar! And bless pulpit and altar. 4. Siehe, ich stehe vor der Tür und klopfe an. So Look, I stand before the door and knock. If anyone ends up jemand meine Stimme hören wird und die Tür hearing my voice and opening the door, I will go in, to him, auftun, zu dem werde ich eingehen und das and keep the Lord’s Supper with him, and he with me. Abendmahl mit ihm halten und er mit mir 5. Öffne dich, mein ganzes Herze, Open yourself, my whole heart; Jesus kömmt und ziehet ein. Jesus comes and enters [God’s “temple,” my heart]. Bin ich gleich nur Staub und Erde, Even though I am but dust and earth, Will er mich doch nicht verschmähn, He will, nevertheless, not disdain me; Seine Lust an mir zu sehn, He will look upon his delight in me, Daß ich seine Wohnung werde. That I may become his dwelling-place. O wie selig werd ich sein! O how blessed will I be! 6. Amen, amen! Amen, amen! Komm, du schöne Freudenkrone, Come, you beautiful crown of joy, Bleib nicht lange! Tarry not long! Deiner wart ich mit Verlangen. [Exceedingly fair bridegroom,] I wait for you with longing. Normal = free poetry Italics = scriptural text Bold = chorale text (transl. Daniel R. Melamed and Michael Marissen) DANA MARSH, ARTISTIC DIRECTOR Oratorios (Oxford, 2008), Tainted Glory in Handel’s Messiah (Yale, 2014), Bach & God (Oxford, 2016), and Dana Marsh began his musical training as a boy chorister at St. essays in Harvard Theological Review, The Huffington Thomas Church Choir School Post, Lutheran Quarterly, and The New York Times. in New York and at Salisbury Daniel R. Melamed is professor at Cathedral in England. He earned the Indiana University Jacobs School his undergraduate degree in organ of Music, and serves as president performance at the Eastman School of the American Bach Society and of Music and received masters and doctoral degrees director of the Bloomington Bach in historical musicology from the University of Oxford. Cantata Project. His books Hearing Praised by The Los Angeles Times as an “energetic and Bach’s Passions and Listening to Bach: persuasive conductor,” and by The Washington Post as the Mass in B Minor and Christmas Oratorio, for general “a superb choral conductor, energetic and precise,” readers, are available from Oxford University Press. Marsh has entered into fruitful collaborations with the London Mozart Players, Studio de musique ancienne de Montréal, the Choir of St. Thomas Church Fifth MEET THE ARTISTS Avenue, the Portland Baroque Orchestra, and the With a voice that “shimmers” (DC Musica Angelica Baroque Orchestra, among others. Metro Theater Arts), Washington, As an acclaimed countertenor soloist and consort DC-based soprano Amy Nicole singer (1992-2008), he performed with the American Broadbent has garnered recognition Bach Soloists, Concert Royal of New York, New as a versatile and dynamic York Collegium, Seattle Baroque Orchestra, and the performer. An advocate for new Academy of Ancient Music. As a singer/soloist with music, in 2016 Broadbent was the Choir of New College Oxford while undertaking selected by composer Robert Kyr as a soloist for the his D.Phil. research, he toured frequently with the world premiere of his cantata Song of the Beloved. Academy of Ancient Music, Orchestra of the Age of Professional achievements include winning first- Enlightenment, and the European Union Baroque place in the 2015 National Society of Arts and Letters’ Orchestra, recording 15 discs with New College Winston Voice Competition, first place at local and Choir, one of which won the Gramophone award in regional levels of NATS competitions, and prizewinner early music in 2008.
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