"Nun komm, der Heiden Heiland" (original: "Nu kom der Heyden heyland", English: "Savior of the nations, come", literally: Now come, Saviour of the heathen) is a Lutheran chorale of 1524 with words written by Martin Luther, based on "Veni redemptor gentium" by Ambrose, and a melody, Zahn 1174, based on its plainchant.

Martin Luther wrote the text of "Nun komm, der Heiden Heiland" possibly for the Advent of 1523 as a paraphrase of a passage, Veni redemptor gentium,[1] from the Latin Christmas hymn "Intende qui reges Israel" by Ambrose.

[10] The hymn was printed in the Erfurt Enchiridion in 1524, and was also published the same year in Walter's choral Wittenberg hymnal, Eyn geystlich Gesangk Buchleyn.

In other hymnals, the hymn opened the section related to the liturgical year, such as in Johann Crüger's Praxis Pietatis Melica.

The song, in eight stanzas of four lines each, expresses first the request for the coming of a redeemer of all people, including the heathens or gentiles, born of a virgin.

Non ex virili semine, Sed mystico spiramine Verbum Dei factum est caro, Fructusque ventris floruit.

Procedit e thalamo suo, Pudoris aula regia, Geminae gigans substantiae Alacris ut currat viam.

Aequalis aeterno Patri, Carnis tropaeo accingere, Infirma nostri corporis Virtute firmans perpeti.

Gloria tibi, Domine, Qui natus es de virgine, Cum Patre et Sancto Spiritu, In sempiterna saecula.

Der Jungfrauen Leib schwanger ward, doch blieb Keuschheit rein bewahrt, leucht hervor manche Tugend schon, Gott war da in seinem Thron.

Dein Krippen glänzt hell und klar, die Nacht gibt ein neu Licht dar.

Dunkel muss nicht kommen drein, der Glaub bleib immer im Schein.

His major achievement was to repeat the first melodic line in the last, forming an A–B–C–A structure and transforming the medieval hymn into a Lutheran chorale.

Georg Böhm set all eight stanzas of the hymn in a cantata Nun komm, der Heiden Heiland for soloists, choir and instruments.

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.