Bach-Busoni Nun Komm, der Heiden Heiland BWV659 II Rachel Naomi Kudo, Piano

Johann Sebastian Bach (1685-1750)
Ferruccio Busoni (1866-1924)
Recorded June 28, 2023
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IN QUIET EXPECTATION

The first of three Advent gems is thought-provoking

The Leipziger Choräle include two ‘trilogies’: one based on Allein Gott in der Höh’ sei Ehr (BWV 662-664), and one on the Advent hymn Nun komm, der Heiden Heiland, of which BWV 659 forms the first section. (The individual works are most likely older, were not written together and are not the only ones to this melody, but the compilation Bach made in his later years is significant). Whereas Allein Gott concerns the Trinity, here it is all about Jesus, who has three roles in the catechism: sanctifier, redeemer and protector. Maybe Bach meant the first role here. Or maybe he was thinking mainly of the first verse of the hymn: ‘Nun komm, der Heiden Heiland / der Jungfrauen Kind erkannt / des sich wundert alle Welt / Gott solch Geburt ihm bestellt’.

Whatever the case, this chorale arrangement is full of mystical expectation, which is underlined by the ‘quiet’ recording of this performance. Although Bach borrowed the form from Buxtehude, in style BWV 659 would not be amiss as the middle movement of a concerto in Italian style. All the elements are present: a walking bass, a duet of middle voices (sometimes in canon and sometimes referring to the chorale melody) and a leading upper voice. In the arrangement of the melody in the upper voice, Bach goes much further than his predecessors. Each phrase grows out of the chorale into the most wonderful, spun-out coloratura. At the end of the third line of the verse, the world’s amazement is reinforced by a harmonic pause and an abrupt deceleration of the bass – everyone holding their breath – a trick often used by Bach when writing about the birth of Jesus.

https://www.bachvereniging.nl/en/bwv/...
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Engineer: Federico Furlanetto
Piano Technician: Massimiliano Pinazzo
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