cantus firmus is countered by the lower voices with a version of the first theme, doubled by instruments. Throughout the fantasia, whenever the cantus firmus is exposed, it is doubled by the horn. The other nine lines are punctuated by instrumental episodes of differing lengths. Some are quite short, where other pairs of instruments briefly play the first theme. For line 2, the tenor, followed by the alto, sing the cantus firmus in diminution, i.e. sung at twice the speed, with dotted crotchets instead of minims. Line 5 is similar, but this time the alto is followed by the tenor. In the episode between lines 2 and 3, the second themes are heard. Between lines 3 and 4 there is a recurrence of the sinfonia with different solo instruments allocated to the parts. Between lines 4 and 5, there is a two bar episode with the first theme; and between lines 5 and 6, the second theme is heard again. The vocal lines 4–6 are a repetition of lines 1–3, reflecting the over-arching bar form of the movement. The extended instrumental passage between lines 6 and 7 features a duet between the two concertante violins, with the first theme countering the semiquaver bariolage. In line 7 the word "" ('lovely') is sung to plain chords in the choir, punctuated by one bar of the first theme; in line 8 the same happens for the word "" ('kindly'). After a two-bar episode similar to the violin duet, the whole orchestra and chorus are heard in line 9, with rolling quavers, in contrary motion. A 4-bar episode for the concertante violins leads to fugal entries in the lower voices and the climactic tenth line: with animated accompaniment from the entire orchestra and lower voices, the sopranos sing a descending scale to the words "" ('high and most sublime in splendour'). The orchestral ritornello closes the movement. Dürr and Richard Jones write that the chorale fantasia is "a movement of jubilant splendour, colourful profusion, and Advent joy". W. Gillies Whittaker describes the long movement as "one of the most unforgettable pictures in musical art" with "kaleidoscopic changes of the fascinating material". 2 The tenor expresses in secco recitative the belief "" ('You, very son of God and Mary'). The text is crafted paraphrasing the second stanza of the hymn, and also alludes to the annunciation from the Gospel reading. 3 In the first