BWV 61: Nun komm, der Heiden Heiland - Siehe, ich stehe vor der Tür (Recitativo) | Zimmermann Band

Zimmermann Band presents the spine-tingling recitativo from J. S. Bach's Cantata for the first Sunday of Advent, Nun komm, der Heiden Heiland (BWV 61), composed 1714 in Weimar at the age of 29.

In this cantata, Bach combines the French style with the Germanic chorale tradition to dramatic effect; particularly in the overture, referencing the practice in Louis XIV's court where such pieces would be played on the entrance of the King and comparing it to that Sunday's Gospel where Jesus rides into Jerusalem on the donkey as King (Matthew 21:1–9).

However, Bach's not finished. In the centre of the cantata and quoting Revelation 3:20, in a short recitativo Bach depicts Jesus knocking on mankind's door and asking us if we will enter into communion with him.

French court composers were not subtle and one would imagine that if Lully or Rameau wrote this, to symbolise Jesus knocking, it would involve a big stick and smashing it against the floor! Indeed, this was actually how Lully, court composer to King Louis XIV, conducted his grand orchestra*.

Bach in comparison maximises tension through hushed pizzicato strings ('senza l'arco') and an angsty opening chord. Only once the communicant has opened his door to Christ does Bach allow the chord to shift from minor to major.

BWV 61: Nun komm, der Heiden Heiland
Recitativo - senza l'arco

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: if any man hear my voice, and open the door, I will come in to him, and will sup with him, and he with me. (KJV)

Revelation 3:20

Zimmermann Band
Chris Jeanes

Bass - Stuart O'Hara

Violin 1 - Will McGahon
Violin 2 - Maxim Del Mar
Viola 1 - Francesca Gilbert
Viola 2 - Alice Poppleton
Cello - Camilla Morse-Glover
Double Bass - Josie Jobbins

*Until Lully then accidentally stabbed himself in the foot whilst conducting very exuberantly and subsequently died from gangrene. Ironically, the concert was celebrating the King Louis XIV of France's recovery from surgery.