audition cantatas Jesus nahm zu sich die Zwölfe, BWV 22 and . Bach assumed the position of on 30 May 1723, the first Sunday after Trinity, performing an ambitious cantata in 14 movements, , followed by a comparable cantata, the next Sunday. Traditional setting of the German Magnificat The traditional setting of Luther's German translation of the Magnificat ("Meine Seele erhebt den Herren") is a German variant of the , a rather exceptional psalm tone in Gregorian chant. The tonus peregrinus (or ninth tone) is associated with the ninth mode or Aeolian mode. For the traditional setting of Luther's German Magnificat that is the minor mode for which the last note of the melodic formula is the tonic, a fifth below its opening note. The tonus peregrinus variant that is associated with Luther's German Magnificat appears in compositions by, among others, Johann Hermann Schein, Heinrich Schütz, Johann Pachelbel and Dietrich Buxtehude. Bach uses the melodic formula as an instrumental in movement 10 (Suscepit Israel) of his Latin Magnificat. He uses it again in his "German Magnificat", i.e. the cantata composed for Visitation of 1724, in the chorale harmonisations BWV 323 and 324, and in the fourth Schübler Chorale BWV 648. Also in BWV 733, Fuga sopra il Magnificat, the melodic formula is used as a theme: this chorale prelude may however be the work of Bach pupil Johann Ludwig Krebs. Extended settings of the Magnificat Being a quintessential part of vespers, evensong or matins, the Magnificat was, already for over a century before Bach's composition, the liturgical text that was most often set to music apart from the Mass ordinary. In Protestantism there was no Latin text more often set to music than the Magnificat. Also settings of the German text of the Magnificat were current from the early 17th century, without one form suppressing the other. Extended settings of the Magnificat, also indicated as settings in a concertato sectional construction, that is in several movements with chorus, orchestra and vocal soloists, and a non-linear treatment of the text (parts of the text repeated multiple times by the singers), go back to the old Italian school of music. Such an example can be found in Claudio Monteverdi's Magnificat a 7 voci, one of two alternative Magnificat settings included in his Vespro della Beata Vergine. In a Lutheran tradition there is for example Schütz' Latin Magnificat, SWV 468. Magnificat composers like