is scored for an unusual combination of the three highest voices and two oboes in unison (a single trumpet in the E-flat major version). The wind instrument(s) cite the as a , on a continuo line that most of the time only changes every measure, moving one step down or up. The voices imitate each other, in gentle movement. Almost the only leaps in the whole measure occur on the word , with a downward quart on each syllable. 11. Sicut locutus est (As he spake [to our fathers, to Abraham, and to his seed for ever]), the last line of the Magnificat has a theme in four distinct measures: the first repeated notes, the second flowing eighth notes, the third quarter notes in leaps, the fourth half notes leaping up a sixth. When the theme is developed the first time, four voices enter from bottom to top. In the second development, soprano I begins, followed by alto, tenor and bass. The movement ends with a more homophonic section in which the bass has the theme once more, while soprano I sings long suspended notes in a descending scale covering almost an octave. 12. Gloria patri The work is concluded by the doxology, (Glory to the father), performed by the complete ensemble. The first part of the text ends in a long cadenza. After changing the time signature from common time to triple metre, the second part of the text, (as it was in the beginning), repeats material from the beginning of the work. The hymns added in the Christmas 1723 version The first time the Christmas hymns of the E-flat major version of Bach's Magnificat were printed was in the same volume as the D major version of the Magnificat, in the 1862 Bach Gesellschaft XI/1 publication, which presented the hymns in an annex. In that publication the hymns were however not transposed to fit in the D major setting of the Magnificat. More recently publishers offer such transposed (and completed) versions of the hymns, so that they can be performed as part of the D major version of the Magnificat, for instance Novello in 2000 (Neil Jenkins) and Bärenreiter in 2014. A. Vom Himmel hoch The text is the first stanza of "", a hymn by Martin Luther paraphrasing the annunciation to and adoration of the shepherds from . Bach sets this first laudes a cappella in four