Michael Altenburg

Now come, the Savior of the Gentiles

The six-part intrada 'Nun komm, der Heiden Heiland' is taken from the collection 'Cantiones de Adventu... Erfurt 1620'.
The composition is in three parts (A, B, C). In the fifth voice the cantus firmus is in enlarged note values. In this arrangement, a chorale movement has been inserted twice between the individual parts, but this can also be omitted.
The following performance possibilities are conceivable:
1. The chorale intrada can be performed by itself in solo or choral instrumentation, in which case the chorale movements are omitted.
2. The chorale movements can be inserted. The chorale movements can be performed as soloists in order to differentiate them from the mighty six-part movement.
3. It is particularly attractive to have the chorale movements performed by an organ.
In any case, the repetitions in a choral performance should be differentiated tonally by changing registers. The chorale melody should be chosen as a guide for the tempo. The meter ideally remains the same in the intrada and chorale. Individual voices in different transpositions and clefs allow for performance with woodwinds, saxophones, and brass.

Instrumentation:
1st voice in C (alto)
(flute only for choral instrumentation)
1st voice in C (oboe/C). Voice in C (oboe/C trumpet)
1st voice in Bb (trumpet/clarinet/soprano sax.)
2nd voice in C (oboe/C trumpet)
2nd voice in Bb (trumpet/clarinet)
2nd voice in Eb (alto saxophone)
3rd voice in Bb (trumpet/clarinet)
3rd voice in Bb (tenor horn/tenor sax.)
3. voice in Eb (horn/altsax.)
3. voice in F (horn)
4. voice in Bb (tenor horn/tenorsax.)
4. voice in C (trombone/baritone)
4. voice in Eb (horn)
4. voice in F (horn)
5. voice in C (trombone/baritone/bassoon)
5. voice in Bb (tenor horn/tenorsax.)
6. voice in C (trombone/baritone/bassoon)
6. voice in Eb (Eb bass/baritone sax.)
6. voice in Bb (baritone, Bb bass)
6. voice in Bb (bass clarinet)
6. voice in C (basso)
(tuba only with choral instrumentation)
Organ ad. lib.