And hath put on human flesh, And become a lovely child, Alleluja!) and is a fragment of a longer Christmas hymn that was printed in Gottfried Vopelius' Neu Leipziger Gesangbuch. For S B, F major, 12/8. Reception history After the composer's death the autographs of both the E-flat major and the D major version of the Magnificat were owned by his son Carl Philipp Emanuel. Publication followed in the 19th century, including the Christmas hymns of the E-flat major version, and a variety of vocal and instrumental scores adapted to contemporary performance practice for the D major version. By the end of that century "The Magnificat in D (was) considered one of the grandest illustrations of Bach's genius." Generally it was also the D major version without the Christmas hymns that was chosen for performance. A new critical edition of both BWV 243.2 and 243.1 was published in 1955 as Series 2, Volume 3 of the New Bach Edition. Although the D major version remained the standard for life performance and studio recordings, half a century later also the E-flat major version had been published in new editions adapted to performance, it had been recorded several times, and its composition history had been further unravelled. 18th century In 1749, a year before his father's death, Carl Philipp Emanuel Bach's Magnificat in D major had been performed in Leipzig, like his father's an extended setting. When Johann Sebastian had died, Carl Philipp Emanuel owned the autograph of both versions of his father's Magnificat, and staged the composition in Hamburg in 1786. Laudes A and B (transposed to fit in a D major composition) were combined with a movement of a cantate by Graun (probably Carl Heinrich Graun) to form a Christmas motet, Kündlich groß ist das gottselige Geheimnis, 19th century The score of the E-flat major version of Bach's Magnificat was first published by Simrock in 1811, edited by Georg Pölchau, however with printing errors, and without the Christmas hymns. It was the first composition of Bach for vocal soloists, chorus and orchestra that was printed in orchestral score, but at the time this publication had little success in sales. When in 1822 young Felix Mendelssohn composed a Magnificat in D major he showed that he knew Bach's version. The D major version of Bach's Magnificat didn't appear in print before the Bach-revival that followed Mendelssohn's 1829 performance of the St