; in the autographs no double bar separates it from the preceding Gloria section. Again, Bach reused the music in the opening chorus of BWV 191. Laudamus te Aria (Soprano II) in A major with violin obbligato, no autograph tempo marking, time signature of . William H. Scheide argues that Bach based this movement on the opening aria of a lost wedding cantata of his (for which we now have only the text) Sein Segen fliesst daher wie ein Strom, BWV Anh. I 14 Gratias agimus tibi Four-part chorus (Soprano, Alto, Tenor, Bass) in D major, marked alla breve, time signature of . The music is a reworking of the second movement of Bach's 1731 Ratswechsel (Town Council Inauguration) cantata Wir danken dir, Gott, wir danken dir, BWV 29, in which the time signature is the number 2 with a slash through it. (Stauffer adds that both may have an earlier common source.) Domine Deus Duet (soprano I, tenor) in G major with flute obbligato and muted strings, no autograph tempo marking, time signature of . The music appears as a duet in BWV 191. In the 1733 parts, Bach indicates a "Lombard rhythm" in the slurred two-note figures in the flute part; he does not indicate it in the final score or in BWV 191. Stauffer points out (p. 246) that this rhythm was popular in Dresden in 1733. It is possible that Bach added in the 1733 parts to appeal to tastes at the Dresden court and that he no longer wanted it used in the 1740s, or that he still preferred it but no longer felt it necessary to notate it. Qui tollis peccata mundi Four-part chorus (Soprano II, Alto, Tenor, Bass) in B minor, marked adagio in the two violin 1 parts from 1733 and lente in the cello, continuo, and alto parts from 1733; time signature. No double bar separates it from the preceding movement in the autograph. The chorus is a reworking of the first half of the opening movement of the 1723 cantata Schauet doch und sehet, ob irgend ein Schmerz sei, BWV 46. Qui sedes ad dexteram Patris Aria (alto) in B minor with oboe d'amore obbligato, no autograph tempo marking, time signature. Quoniam tu solus sanctus Aria (bass) in D major with obbligato parts for solo corno da caccia (hunting horn or Waldhorn) and two bassoons, no autograph tempo marking, time