The Advent hymn Nun komm, der Heiden Heiland is one of the oldest hymns of the Christian church. The original fourth-century hymn by Ambrose of Milan is still sung nowadays in the original Latin, in Luther’s German translation, or in other languages. A centuries-old hymn is of course often difficult to understand, but to understand this one has been especially tricky, even in Bach’s time. The hymnologists of the early 18th century went to great lengths to explain it properly, which makes it interesting to place this hymn text next to Bach’s chorale cantata (BWV 62). Bach used the first verse already in 1714 for the cantata Nun komm, der Heiden Heiland (BWV 61).
What will you need?
Please find audio examples and text sources on this page. To read along with the music, please find a link to the score under “Sources” on this page.
Information
- Title: Nun komm, der Heiden Heiland (BWV 62)
- Written for: 1st Sunday of Advent
- Librettist: Martin Luther (translation of Veni redemptor gentium by Ambrosius)
- Libretto: Martin Luther (1524); verses 1 and 8 used verbatim; verses 2–7 (movements 2–5) adapted (anonymous librettist)
- Voicing/Instrumentation: S*, A*, T*, B*, S, A, T, B; Cr, 2 Ob, 2 Vl, Va, Bc
- First performance: December 3, 1724, Leipzig
Sources
Step 1
Listen to two hymns.
First, listen to the hymn in two versions through the videos on the right. The first is a rendition of Ambrose’s original Latin hymn from the fourth century, Veni Redemptor gentium.
Then listen to Martin Luther’s German hymn Nun komm, der Heiden Heiland from 1524.
Note that the meter of the text has been changed. Ambrose’s text has eight syllables per line, while Luther’s has seven.
Step 2
Read the hymn text.
Please find Luther’s hymn with an English translation here
The full text of both Ambrose’s and Luther’s versions can be found on this page. Here you will also find a working translation in Dutch of Ambrose’s Latin text.
Nun komm der Heiden Heiland tells the story of light’s victory over darkness, which Ambrose believed was entirely God’s doing. With his hymn, he offered a counterpoint to the ideas of his time. December 25 had already been a holiday in the Roman Empire for a long time: the birthday of the invincible sun god, “Natalis Solis Invicti.” After the solstice, he bursts forth again and the sun will overcome darkness. Ambrose’s message is clear: the way the sun makes all darkness disappear, so Christ chases all darkness that oppresses and frightens man. Jesus Christ is the sun of our salvation and comes to comfort us.
An important difference between the two hymns is Luther’s desire for the song to rhyme, since during his time it was important that a song could be memorized via oral transmission. The sentence structure is often secondary to this. At times, this makes the cryptic imagery even more difficult to understand.
For example, “Gott von Art und Mensch ein Held / sein’n Weg er zu lauffen eilt” (verse 4, literally translated: God of sort and man a hero / his way he to walk hastens).
Even before Bach’s time, the difficult and sometimes mysterious text was criticized. As early as 1640, for example, C. Marci wrote: “Die Worte des selben sind sehr hoch / geistreich / guten theils verblümt, und wegen des darinnen beschriebenen Geheimnüsses etwas schwer.” (The words of the same are very lofty / highbrow / and mostly obscure, and somewhat difficult because of the secrets described therein.) This was also due to Luther’s attempt to stay as close as possible to Ambrose’s Latin.
In this text you will find a few striking things:
- The simultaneously divine and human nature of Jesus Christ is the common thread running through the hymn.
- Christ is presented as a hero.
- In verse 5, the entire life story of Christ is told.
- There are frequent references to the light overcoming the darkness.
Step 3
Read more about the hymn critique.
In addition to the general criticism about the difficult poetry in this hymn, there were other criticisms in the early 18th century. Much of the Calvinist criticism focused on how the Incarnation is discussed in the hymn. In his dual-nature doctrine, Luther argues that while the divine and human natures in Christ are indivisibly joined, they do not merge. In this, he sees two functions of one person, interacting with each other to bring about the consoling exchange whereby Christ takes on man’s sin and effects reconciliation with God. Calvinists, on the other hand, emphasize a distinction between the divine and human nature of Christ.
In addition to all this criticism, funny anecdotes proliferated in Bach’s time, such as this one about Hans Dunckel. He never came to church. When asked why not, he referred to the first hymn in the hymnals. Nun komm, der Heiden Heiland. After all, there it is, in verse 7: “Dunckel muß nicht kommen drein” (Dunckel must not enter).
Step 4
Listen to the first movement of the cantata
1. Choir : Nun komm der Heiden Heiland
Now come, savior of the gentiles.
Text:
1. Nun komm, der Heiden Heiland,
Der Jungfrauen Kind erkannt,
Des sich wundert alle Welt:
Gott solch Geburt ihm bestellt.
1. Now come, [Jesus,] savior of the gentiles,
Known as child of the virgin [Mary],
Of this all the world marvels:
God ordained him such a birth.
[English translations from BachCantataTexts.org]
Bach has the hymn’s first verse sung by the choir in a motet form, with the voices entering one after the other. The text lines of the song are sung separately in slow note values. The instruments, however, play in a faster rhythm, a somewhat nervous, but at the same time mysterious melody in which one frequently recognizes the opening melody.
The emphasis here is on the sacred miracle of the birth and somewhat less on the call to come. In fact, there was discussion about the interpretation of the “Nun komm” (Come now): how could it be that Jesus would come again now? Surely he has already been in the world? Hymnologist Johann Martin Schamel explains that we should understand it as a poetic form of expression: On the contrary, Jesus wants to come again and again, even daily, to the believers.
Schamel substantiates this with a reference to John 14:23. Luther’s explanation of this verse (collected in the Calov Bible) reinforces this explanation. There, too, is mention of this daily contact and of Christ wanting to dwell with people as a friend in their home and at their table.
Johannes 14:23 (Calov-Bible)
JESUS antwortet / und sprach zu ihm: Wer mich liebet der wird meine Wort halten […] und mein Vater wird ihn lieben […]/ und wir (der Vater / Ich / und der Heil. Geist / 1. Joh. V.7.) werden zu ihm kommen / und Wohnung bey ihm machen. (Herr Lutherus l.c. Und hiebey / spricht Er weiter / soll es nicht bleiben / daß ich und der Vater ihn lieb haben / der da mich liebet / sondern wir wollen zu ihm kommen etc. Daß Er nicht allein soll sicher seyn für dem zukünfftigen Zorn / Teuffel / Tod / Hölle / und allem Unglück / sondern soll auch hie auff Erden uns bey ihm wohnend haben / und wollen täglich seine Gäste / ja Hauß= und Tisch=Genossen seyn / das soll euch widerfahren / und nicht der Welt / denn sie ist auch solcher Ehre und Herrligkeit nicht Werth / weil sie mein Wort nicht hören noch annehmen wil / ja dazu hasset und verfolget. [….]
For comparison, listen below to the opening of Bach’s earlier cantata of the same title from 1714 (BWV 61). The difference is striking. There, the first verse of the chorale has the character of a stately French overture.
Step 5
Listen to the second movement of the cantata
2. Aria (tenor): Bewundert, o Menschen, dies große Geheimnis
Admire, mankind, this great mystery
Text:
2. Bewundert, o Menschen, dies große Geheimnis:
Der höchste Beherrscher erscheinet der Welt.
Hier werden die Schätze des Himmels entdecket,
Hier wird uns ein göttliches Manna bestellt,
O Wunder! die Keuschheit wird gar nicht beflecket.
2. Marvel, O people, at this great mystery:
The supreme ruler appears to the world.
Here the treasures of heaven are revealed,
Here a divine manna [Jesus] is ordained for us,
O miracle! The chastity [of Mary] is completely untainted.
This text is based on the second and third verse of the hymn.
This aria further emphasizes the miracle. This was necessary because the nitpickers wanted more clarity about that birth. After all, the early 18th century was also the time when science was breaking new ground, so a simple explanation for the miracle of immaculate pregnancy no longer sufficed. Even a reference to the Holy Spirit did not convince everyone. An additional explanation was found in Isaiah 11, verse 1: the new shoot on Jesse’s old root. Growing such a new twig from an existing root is very different than starting from the beginning and planting a seed to grow a new tree. The aria emphasizes that God encompasses the whole world with that kind of miracle and that we can only admire such grace.
Step 6
Listen to the third movement of the cantata
3. Recitative (bass): So geht aus Gottes Herrlichkeit und Thron
Thus from God’s glory and throne goes forth
Text:
3. So geht aus Gottes Herrlichkeit und Thron
Sein eingeborner Sohn.
Der Held aus Juda bricht herein,
Den Weg mit Freudigkeit zu laufen
Und uns Gefallne zu erkaufen.
O heller Glanz, o wunderbarer Segensschein!
3. In this way, from God’s glory and throne, goes forth
His only-begotten son [Jesus]—
The hero from Judah breaks in [to the world, from heaven,]
To run the course [of salvation], with gladness,
And to purchase us fallen [sin-stained] ones.
O bright splendor, O marvelous luminosity of blessing/salvation!
This text is based on the fourth and fifth verse of the hymn.
In this discussion of Jesus’ origin, we touch on an important point of contention between different movements in religious doctrine: the dual-nature doctrine. While Luther made a distinction between the divine and human natures of Christ, he simultaneously emphasized that they formed an indivisible unity. Therefore, it is also worth looking at the original Latin text of the song. “God of kind and man, a hero”: this is how Martin Luther translated the Latin words ”geminae gigas substantiae.” Luther assumed that Ambrose also wanted to make it clear that Jesus Christ is a hero (gigas) of twofold (geminae) nature (substantiae), namely of divine and human nature, truly God and truly man. Although born as man, he belongs completely to God, his Father. In this recitative, Christ’s entire life path, “mit Freudigkeit,” is told in an extremely compact form. The text of the hymn’s fifth verse, “sent from God, come down to earth, descended into hell and returned to the Father” is summarized here only as a consoling ending: we, fallen ones, are redeemed.
Step 7
Listen to the fourth movement of the cantata.
4. Aria (Bass): Streite, siege, starker Held!
Fight, conquer, strong hero!
Text:
4. Streite, siege, starker Held!
Sei vor uns im Fleische kräftig.
Sei geschäftig,
Das Vermögen in uns Schwachen
Stark zu machen!
4. Fight, win, strong hero!
Be, in the flesh, mighty for us.
Be diligent
In making
The power in us weak ones strong.
This text is based on the sixth verse of the hymn.
However, pardoning the sinners is not enough, of course. Although grace is a gift, it is not without obligation. The believer cannot sit back, but must take action himself. The struggle of the incarnated hero against the devil, hell, and death is a first step, but then man must step away from his sinful condition and be healed. The hero’s strength is needed to make us resilient against the stratagems and violence of our attackers. We may ask God and the Holy Spirit for that help, support, and strength. Etymologically, by the way, that is the original meaning of “Trost” (consolation): to provide help, support, and strength. (To wish someone “strength” still contains this original consolatory wording.)
In this part of the cantata, Bach also makes the hero go to war musically. Thereby it can’t hurt to correct a misunderstanding of Luther’s text, as Schamel advises: ‘den Sieg im Fleisch’ (from “führ hinaus den Sieg im Fleisch,” the second line of this 6th verse) should be understood as “in the flesh / i.e. in the assumed flesh or human nature”.
So no room for bad jokers who would rather sing ‘Führ hinaus den Sieg ins Fleisch’ (Lead victory into the flesh). Let the hero fight!
Step 8
Listen to the fifth movement of the cantata.
5. Recitative (Soprano) : Wir ehren diese Herrlichkeit
We honor this glory
Text:
5. Wir ehren diese Herrlichkeit
Und nahen nun zu deiner Krippen
Und preisen mit erfreuten Lippen,
Was du uns zubereit’;
Die Dunkelheit verstört’ uns nicht
Und sahen dein unendlich Licht.
5. We honor this glory
And [we] now draw near to your manger
And laud with gladdened lips
What you have prepared for us;
The darkness [of sin] did not destroy us
And [we] saw [inside our hearts] your unending light.
This text is based on the seventh verse of the hymn.
The luminosity of the manger is clearly a metonym for Christ. However, the hymn text does not make that clear, but the cantata text does. Ambrose already stressed the special nature of this mystery of faith in his hymn. He who comes to us is not a resplendent hero with an unassailable divinity. Therefore, we do not celebrate the glorious, the majestic, the invincible here. No, a “new light comes out of the night.” Similarly, the manger’s luminosity is not a reflection of the light outside. The radiance comes from a new light, not obstructed by physical or spiritual darkness. The hymn clarifies that the new light cannot be overcome by the old darkness and that instead, he who holds up this light is the believer. The believer’s faith carries the light. Schamel explains the word “Schein” (radiance) in the song with explanations from Luther:
“So lange er nicht erlöscht und Christus im Hertzen ist. Der Glaube leydet keine muthwillige Sünde, wo Jesus, der Heilige Geist und Glaube im Hertzen, da ist Licht der guten Wercke”.
(As long as it is not extinguished and Christ is in the heart, faith does not allow willful sin; where Jesus, the Holy Spirit, and faith are in the heart, there is light for good works).
The tender worship of the dawning light in the manger is appropriately sung by only two singers, a soprano and alto. This dawning light is Christ himself. In the instrumental accompaniment we hear the portrayal of the believer.
Step 9
Listen to the sixth movement of the cantata.
6. Chorale : Lob sei Gott, dem Vater, ton
Praise be given to God, the Father
Text:
6. Lob sei Gott, dem Vater, g’ton,
Lob sei Gott, seinm ein’gen Sohn,
Lob sei Gott, dem heilgen Geist,
Immer und in Ewigkeit.
6. Praise be given to God the Father;
Praise be to God his only Son [Jesus];
Praise be to God the Holy Spirit;
Ever [here on earth], and [there] in eternity!
The cantata’s conclusion is a hymn of praise, on the same text as Luther’s original hymn. Only the somewhat confusing “thon” has been clarified to “g’thon” at Schamel’s direction. Luther uses the word God three times in this verse, emphasizing the Holy Trinity. Bach illustrates this even further. In the music, there are ornamental eighth notes at every syllable somewhere in one of the vocal parts, except when the first syllable “ein” (one) of the words “ein’gen Sohn”(only son) is sung. With Bach, this is never without meaning: ‘ein’ must emphatically remain undivided. The same can be heard in the final movement of Schwingt freudig euch empor (BWV 36).
Step 10
Listen to the entire cantata.
Finally, after the insights into the individual parts of the cantata, we recommend listening to the entire cantata as a whole. After all, this is how churchgoers in Leipzig heard the piece in 1724.
In summary, the message of this cantata represents the core of Lutheran consolation. The believer may find comfort in the hero, who will fight for his salvation. Provided the believer welcomes him every day as a house friend and Christ is allowed to dwell in the heart, darkness will no longer have a chance. Schamel articulates this as follows in his explanation of the word “Dunckel” (darkness): this light of grace dispels the darkness caused by physical or spiritual night or distress. “Weg Nacht der Sünden! Weg Schatten des Todes! Weg Unglaube!” (Away night of sins! Away shadow of death! Away faithlessness!) After all, Christmas night was full of celestial light.
To the right, please find the performance of the entire cantata by the Netherlands Bach Society from their All of Bach series.
Would you like to read more?
Please find more background on 18th-century hymnology and (German) sources in this hymn’s Hymnological File.