aria, the soprano renders "" ('Fill utterly, you divine celestial flames'), accompanied by an obbligato oboe da caccia, an instrument in alto range. The instruments illustrate the celestial flames in coloraturas. Two oboe parts exist for the obbligato instrument, one in the normal clef for an oboe da caccia, the other in a "fingering notation". Ulrich Leisinger, editor of a publication by Carus, noted that it is unclear if the latter was meant to help a player not experienced in the instrument, or if actually two players alternated, which would make breathing easier. 4 In another secco recitative, "" ('No earthly gloss, no fleshly light could ever stir my soul'), the bass contrasts earthly light with heavenly light. The terms "" ('joyful radiance') and "" ('refreshment') are emphasised by a melisma. Editor Leisinger summarised: "Nothing worldly pleases the soul, only that semblance of joy which is sent by God alone (for which the morning star can evidently serve as an image)". 5 The text of the fifth movement, "" ('Our mouths and the tones of strings'), paraphrases the stanza ('Pluck the strings of the cittern'). The aria is sung by the tenor who, following the text, is accompanied by strings only, including the two solo violins from the first movement. An expression of thanks and praise, it is intensified by a dance-like motion, described as "graceful minuet pulse" by Bach scholar Klaus Hofmann. The soloist sings coloraturas on the repeated word ('singing'). 6 The closing chorale, "" ('How heartily glad I am indeed'), is complemented by an independent part of the second horn, while the other instruments play colla parte with the four-part chorale sung by the choir. Thus, the last chorale cantata in the second cantata cycle reaches an "air of baroque festive splendour". Reception When the composer died in 1750, the autograph composition scores of the chorale cantata cycle presumably went with Friedemann, Bach's eldest son, to Halle, where they were later sold: most of these manuscripts, including that of , went lost without further trace. Bundles of original performance parts of the chorale cantatas, including , were briefly owned by the composer's widow, Anna Magdalena, who sold them to the St. Thomas School. Apart from Bach's motets, these chorale cantatas were the only works of the composer which were performed with some continuity in Leipzig between the composer's death and the 19th-century Bach Revival. Over a century