music directly into the autograph. Even the most unpracticed eye can see the difference between this and surrounding movements"; one part of the final transitional music is "still illegible ... and necessitates the conjectures of a judicious editor." Et expecto Five-part chorus (Soprano I & II, Alto, Tenor, Bass) in D major, marked Vivace ed allegro, implicitly in (as it is not set off with a double bar in the autograph from the Confiteor). The music is a reworking of the second movement of Bach's 1728 town council inauguration () cantata Gott, man lobet dich in der Stille, BWV 120 on the words Jauchzet, ihr erfreute Stimmen. III. Sanctus Sanctus Six-part chorus (Soprano I & II, Alto I & II, Tenor, Bass) in D major, no autograph tempo marking, time signature; leading immediately—without double bar in the sources—into the Pleni sunt coeli , marked Vivace, time signature. Derived from an earlier three soprano and one alto work written in 1724 and repeated and altered slightly on Easter 1727; in that 1724/1727 Sanctus the first section was marked in , perhaps suggesting a tempo faster than what Bach conceived of when he finally re-used it in the Mass. IV. Osanna, Benedictus, Agnus Dei and Dona Nobis Pacem Osanna Double chorus (both four parts) in D major, no autograph tempo marking, time signature. A reworking of the A section of the chorus Es lebe der König, BWV Anh. 11/1 (1732) or Preise dein Glücke, BWV 215 (1734). Benedictus Aria for tenor with obbligato instrument (Flute or Violin) in B minor, no autograph tempo marking, time signature. Butt writes that Bach "forgot to specify the instrument" for the obbligato; Stauffer adds the possibilities that Bach had not decided which instrument to use or that he was "indifferent" and left the choice open. The Bach-Ausgabe edition assigned it to the violin, and Stauffer suggests this choice may have been influenced by Beethoven's use of the violin in the Benedictus of his Missa solemnis. Modern editors and performers have preferred the flute; as Butt notes, the part never uses the G-string of the violin, and modern commentators "consider the range and style to be more suitable for the transverse flute." William H. Scheide has argued that it is a parody of the fourth movement of the lost wedding cantata Sein Segen fliesst daber wie ein Strom, BWV Anh. I 14, for which the text begins