Kowalski noted the "lengthy melismas for each voice" in an aria which sees the proud scattered,  "Fecit potentiam.
Paul McCreesh's 2001 recording of this work alongside the Gabrieli Consort uses one voice per part. Donald Tovey chided editors for adding continuo parts to an "outright practical joke" in one aria in this work, which sees the flutes stop in the middle of playing to represent the wealthy being refused succor, and an obbligato for oboe d'amore features in the aria "Quia respexit." Tovey also contends that the modern practice of singing the phrase "omnes generationes" faster than adagio is groundless. Kowalski noted the "lengthy melismas for each voice" in an aria which sees the proud scattered,  "Fecit potentiam." The singers claim that God fills the hungry in "Esurientes implevit boni" and this work also features the bass aria "Quia fecit mihi magna." Its composer removed the Christmas related text from the original version of this work in E flat major, and after it was transposed to D major, it was premiered for the Feast of Visitation at St. Thomas's Church in 1733.  It was composed in the same year as the Kyrie and Gloria from its composer's ? Mass in B Minor, his other major choral work in Latin. For 10 points, name this canticle for the Virgin Mary, a work of Johann Sebastian Bach. 
Paul McCreesh's 2001 recording of this work alongside the Gabrieli Consort uses one voice per part.
{Magnificat} [The work it's {paired} with is The {Easter Oratorio}, {so take} that until "{outright practical joke}"]