Johann Levini, Antonio Lotti and Francesco Durante are cited as possible inspirations for Bach. Around Bach's time there are also examples by Heinichen and by Vivaldi. In many of these settings a single verse of the Magnificat can be sung by one or more soloists alternating with choral singing, as Bach does in his treatment of the third Magnificat verse: the soprano sings the first words of the verse, while the chorus concludes it. This particular split of the third verse, leaving only the last two words (omnes generationes) to the chorus, had been practised before by Ruggiero Fedeli, and in a Magnificat in G minor from 1720 which Bach probably knew (that Magnificat in G minor used to be attributed to Tomaso Albinoni). Also Graupner's 1722 Magnificat had this split. Another characteristic of Bach's Magnificat is that it is set for a five-part chorus. Extending a standard SATB choir with more voice parts was however no novelty for Magnificat compositions: for example Johann Pachelbel, the teacher of Johann Sebastian's eldest brother, had composed half a dozen Magnificats for SSATB choir, and one for soli, SSATB double choir and orchestra. Kuhnau's Magnificat setting also used a SSATB choir. Bach had already composed for a SSATB choir in Weimar (Der Himmel lacht! Die Erde jubilieret, BWV 31, an Easter cantata from 1715). He did the same in his funeral motet Jesu, meine Freude. Around the time when the D major version of the Magnificat originated, he composed for the same extended chorus in his Mass for the Dresden court. Other extended choral settings by Bach include his Sanctus for six vocal parts (SSSATB) for Christmas 1724, and compositions for double choir like the St Matthew Passion (1727) and the secular cantata Preise dein Glücke, gesegnetes Sachsen, BWV 215 (1734). Such compositions with an extended choir are however outside Bach's usual routine for liturgical music. Bach was not the first to include mixed German/Latin Christmas interpolations in a Magnificat sung in Latin: Hieronymus Praetorius published a Magnificat with such interpolations in 1622. Samuel Scheidt's Geistliche Konzerte III (1635) contained three Magnificats with interpolations, the first of these (SSWV 299 for SSATTB and basso continuo) with the first stanza of "Vom Himmel hoch da komm ich her" as first interpolation. The Visitation version(s) In the Gospel of Luke the words of the Magnificat are spoken by Mary when she visits her cousin Elizabeth,