Title: Nun komm, der Heiden Heiland, BWV 62
Content:  Johann Sebastian Bach composed the church cantata Nun komm, der Heiden Heiland (Now come, Savior of the heathens), BWV62, in Leipzig for the first Sunday in Advent and first performed it on 3 December 1724. The chorale cantata is based on Martin Luther's Advent hymn "Nun komm, der Heiden Heiland". It is part of his chorale cantata cycle.
Title: Nun komm, der Heiden Heiland, BWV 62
Content: 1) Chorale: Nun komm, der Heiden Heiland ; 2) Aria (tenor): Bewundert, o Menschen, dies große Geheimnis ; 3) Recitative (bass): So geht aus Gottes Herrlichkeit und Thron ; 4) Aria (bass): Streite, siege, starker Held! ; 5) Recitative (soprano, alto): Wir ehren diese Herrlichkeit ; 6) Chorale: Lob sei Gott dem Vater ton The cantata in six movements is scored for four vocal soloists (soprano, alto, tenor, and bass), a four-part choir, and a Baroque instrumental ensemble of horn only to support the chorale melody, two oboes, two violins, viola, and basso continuo. 
Title: Nun komm, der Heiden Heiland, BWV 61
Content: Nun komm, der Heiden Heiland BWV 61; BC A 1 / Sacred cantata (1st Sunday of Advent) Bach Digital ; BWV 61 Nun komm, der Heiden Heiland: English translation, University of Vermont BWV 61 Nun komm, der Heiden Heiland: English translation, University of Vermont 
Title: Nun komm, der Heiden Heiland
Content:  Bach used the hymn in two church cantatas for the first Sunday of Advent, his chorale cantata Nun komm, der Heiden Heiland, BWV 62 (1724) and in the opening chorale fantasia of his earlier cantata Nun komm, der Heiden Heiland, BWV 61 (1714). Max Reger composed a setting as No. 29 of his 52 Chorale Preludes, Op. 67 in 1902. "Nun komm, der Heiden Heiland" continues to be used in modern settings. It appears in liturgically oriented Christian hymnals, for example the Lutheran Book of Worship, and as the cantus firmus for organ compositions. In Brian Easdale's score for the 1948 film The Red Shoes, the melody from the chorale is heard as a theme late in the ballet, punctuated by ringing bells, brass instruments and a grand piano. Siegfried Strohbach composed a choral setting in 1988.
Title: Nun komm, der Heiden Heiland, BWV 61
Content:  Johann Sebastian Bach composed the church cantata Nun komm, der Heiden Heiland (Now come, Savior of the heathens), BWV61, in Weimar for the first Sunday in Advent, the Sunday which begins the liturgical year, and first performed it on 2 December 1714. The cantata text was provided by Erdmann Neumeister, who quoted the Book of Revelation and framed his work by two hymn stanzas, the beginning of Martin Luther's "Nun komm, der Heiden Heiland", the main hymn for Advent with a melody based on Medieval chant, and the end from Philipp Nicolai's "Wie schön leuchtet der Morgenstern". The librettist quoted developed his thoughts like a sermon. Bach structured the cantata in six movements, beginning with a chorale fantasia, followed by a series of alternating recitatives and arias, and concluded by a four-part chorale. He scored it for three vocal soloists (soprano, tenor and bass), strings and continuo. Bach led the first performance on 2 December 1714. As Thomaskantor, director of music of the main churches of Leipzig, he performed the cantata again on 28 November 1723.
Title: Nun komm, der Heiden Heiland, BWV 62
Content:  Choir, Netherlands Bach Collegium, Ruth Holton, Sytse Buwalda, Nico van der Meel, Bas Ramselaar, Brilliant Classics 1999 ; J. S. Bach: Complete Cantatas Vol. 13, Ton Koopman, Amsterdam Baroque Orchestra & Choir, Deborah York, Franziska Gottwald, Paul Agnew, Klaus Mertens, Antoine Marchand 2000. CC72213. ; J. S. Bach: Cantatas Vol. 13, John Eliot Gardiner, Monteverdi Choir, English Baroque Soloists, Joanne Lunn, William Towers, Jan Kobow, Dietrich Henschel, Soli Deo Gloria 2000. SDG 162. ; J. S. Bach: Cantatas Vol. 28 – Cantatas from Leipzig 1724, Masaaki Suzuki, Bach Collegium Japan, Yukari Nonoshita, Robin Blaze, Makoto Sakurada, Peter Kooy, BIS 2004. BIS-1221. ; J. S. Bach: Cantatas for the Complete Liturgical Year Vol. 9, Sigiswald Kuijken, La Petite Bande, Gerlinde Sämann, Petra Noskaiová, Christoph Genz, Jan van der Crabben, Accent 2008. ACC25309. 
Title: Nun komm, der Heiden Heiland, BWV 62
Content:  The old hymn tune is in four lines, the last one equal to the first. The instrumental ritornello of the opening chorus already quotes this line, first in the continuo, then slightly different in meter in the oboes. Other than these quotes, the orchestra plays a free concerto with the oboes introducing a theme, the first violin playing figuration. The ritornello appears shortened three times to separate the lines of the text and in full at the end. The soprano sings the cantus firmus in long notes, while the lower voices prepare each entry in imitation. Alfred Dürr suggests that Bach was inspired to the festive setting 
Title: Nun komm, der Heiden Heiland, BWV 61
Content:  Bach structured the cantata in six movements, beginning with chorale fantasia, followed by a series of alternating recitatives and arias and concluded by a chorale. He scored it for three vocal soloists (soprano (S), tenor (T) and bass (B)), and a Baroque instrumental ensemble of violins (Vl), two violas (Va), and basso continuo (Bc), including cello (Vc) and bassoon (Fg). The autograph score is titled: "Dominica 1. Adventus Xsti. / Nun komm der Heyden Heyland. / â . / due Violini / due Viole / Violoncello / è & / Fagotto. / Sopr: Alto. Tenore è Baßo / Col' / Organo. / da / Joh Sebast Bach / anno. / 1714". The duration is given as 18 minutes. According to the Bach scholar Christoph Wolff, the use of two viola parts is French style. Dürr notes that perhaps the strings were doubled by oboes, at least in the Leipzig performance, in a practise that was "not always marked in the score". In the following table of the movements, the scoring, keys and time signatures are taken from Dürr, using the symbol for common time (4/4). The continuo, playing throughout, is not shown.
Title: Great Eighteen Chorale Preludes
Content:  the German funeral bell. BWV 659 Nun komm' der Heiden Heiland [Come now, Saviour of the heathen], a 2 Clav. e Pedale (ornamental chorale) in G minor Over the quavers of the continuo-like "walking bass" in the pedal, the two inner parts move forward meditatively in canon, beneath the florid and melismatic cantus firmus of "Nun komm, der Heiden Heiland". The beautiful melody, endlessly prolonged and never fully perceptible amid the freely spiraling arabesques, evokes the mystery of the incarnation; it is matched by the perfection of the accompaniment. BWV 660 Trio super Nun komm' der Heiden Heiland [Come now, Saviour of the heathen], a 
Title: Nun komm, der Heiden Heiland, BWV 62
Content:  Bach wrote the cantata in 1724, his second year as Thomaskantor in Leipzig, for the First Sunday of Advent. The prescribed readings for the Sunday were from the Epistle to the Romans, night is advanced, day will come, and from the Gospel of Matthew, the Entry into Jerusalem. The cantata is based on Martin Luther's Advent hymn in eight stanzas "Nun komm, der Heiden Heiland", the number one hymn to begin the Liturgical year in all Lutheran hymnals. The unknown poet retained the first and last stanza, paraphrased stanzas 2 and 3 to an aria, stanzas 4 and 5 to a recitative, the remaining stanzas to an aria and a duet recitative. Bach first performed the cantata on 3 December 1724, and he performed it again in 1736, adding a part for violone in all movements, after the Thomasschule had bought an instrument at an auction in 1735. Bach's successor Johann Friedrich Doles performed the cantata after Bach's death.

Question: Who was the composer of Nun komm, der Heiden Heiland, BWV 62?
Answer: Johann Sebastian Bach.
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