motive is sung again, first by the highest voices in measure 49, followed by the lower voices in measure 50. In this block the chorus takes a leading role, limited groups of instruments accompanying with short ideas taken from the opening tutti, until in the last two measures all instruments join, ending with the second main motive played by trumpet I in measure 60. In this second of three blocks for the singers, the only text they sing is a repetition of the word "magnificat". Measure 61–75: in the first measure of this block the altos sing the first main motive while all instruments halt for at least a few beats. The singers keep the leading role, while groups of instruments play additional motives. Later the orchestral writing thickens, returning from the subdominant to the tonic. The text remains for most of this block, the conclusion "anima mea" (my soul) is heard by the alto for the first time, in measure 67, embedded in the other voices' . All parts sing "" once again, soprano II beginning with a long note continued by a melisma in measure 73, the others in 74. Measure 76–90: after 45 measures of choral singing follow fifteen measures of instrumental postlude, with material condensed from the opening tutti. 2. Et exultavit ("And my spirit has rejoiced [in God my Saviour]") is an aria sung by soprano II, accompanied by the strings. The aria continues the feelings of joy from the first movement, but in a less extrovert way. In the Christmas 1723 version, this movement is followed by the first interpolation, the hymn "Vom Himmel hoch da komm ich her". 3. Quia respexit (Because he has looked upon the humility) is an aria sung by soprano I with an obbligato oboe (oboe d'amore in the D major version). It is the only movement for which Bach marked the tempo at the beginning: Adagio (only the D major version). Steinberg notes that voice and instrument first share the material in a "contemplative duet", but on (from henceforth shall call me blessed) the voice changes to a "simpler, more declamatory style". Spitta notes: "Scarcely ever has the idea of virgin purity, simplicity, and humble happiness found more perfect expression than in this German picture of the Madonna, translated, as it were, into musical language." 4. Omnes generationes The continuation of the verse and completion of the sentence,