Question: During which service is the canticle upon which Bach's cantata Meine Seel erhebt den Herren, BWV 10 is based traditionally included in the Eastern Orthodox church?
Context: Meine Seele erhebt den Herren is Martin Luther's German translation of the Magnificat. Wir danken dir, Gott, wir danken dir (We thank you, God, we thank you), BWV 29 , is a sacred cantata by Johann Sebastian Bach.  He composed it in Leipzig in 1731 for Ratswechsel , the annual inauguration of a new town council, and first performed it on 27 August of that year.  The cantata was part of a festive service in the Nikolaikirche .  The cantata text by an unknown author includes in movement 2 the beginning of Psalm 75, and as the closing chorale the fifth stanza of Johann Gramann's "Nun lob, mein Seel, den Herren ".  Bach scored the work in eight movements for four vocal parts and a festive Baroque orchestra of three trumpets, timpani, two oboes, strings, an obbligato organ and basso continuo.  The organ dominates the first movement "Sinfonia" which Bach derived from a "Partita" for violin.  The full orchestra accompanies the first choral movement and plays with the voices in the closing chorale, while a sequence of three arias alternating with two recitatives is scored intimately. Heinrich Schütz composed four extant settings of the Magnificat or "Song of Mary", one of the three New Testament canticles.  He set one in Latin and three in German.  In the Schütz-Werke-Verzeichnis (SWV), the compositions have the numbers 344, 426, 468 (in Latin) and 494.  The settings on the German text are all part of larger groups of works.  They are settings of Martin Luther's German Magnificat, Meine Seele erhebt den Herren (My soul magnifies the Lord).  Schütz wrote the compositions for different forces and occasions. The Magnificat (Latin: [My soul] magnifies [the Lord] ) is a canticle, also known as the Song of Mary, the Canticle of Mary, and, in the Byzantine tradition, the Ode of the Theotokos (Greek: Ἡ ᾨδὴ τῆς Θεοτόκου ).  It is traditionally incorporated into the liturgical services of the Catholic Church (at vespers) and of the Eastern Orthodox churches (at the morning services).  It is one of the eight most ancient Christian hymns and perhaps the earliest Marian hymn.  Its name comes from the incipit of the Latin version of the canticle's text. The Eastern Orthodox Church in Moldova is organized by the Metropolis of Chișinău and All Moldova, commonly referred to as the "Moldovan Orthodox Church", a self-governing church body under the Russian Orthodox Church, and by the Metropolis of Bessarabia, also referred to as the "Bessarabian Orthodox Church", a self-governing church body under the Romanian Orthodox Church.  According to a 2011 Gallup survey on religion, among the Eastern Orthodox of Moldova, 86% belonged to the Moldovan Orthodox Church, while 13% belonged to the Bessarabian Orthodox Church. An Old Calendarist is any Eastern Orthodox Christian or any Eastern Orthodox Church body which uses the historic Julian calendar (called "Old Style Calendar" or "Church calendar" or "Old Calendar"), and whose Church body is not in communion with the Eastern Orthodox Churches that use the New Calendar.  The "Old Calendarists" (who are also sometimes styled "Old Calendar") are to be distinguished from Eastern Orthodox Christians or Eastern Orthodox Church bodies which are "on the" Old Calendar.  The latter use the historic Julian calendar cited above, but "are" in communion with the Eastern Orthodox Churches that use the New Calendar (the Revised Julian calendar).  Thus, to be "Old Calendarist" or "Old Calendar" is not the same thing as being "on the Old Calendar".  The Russian Orthodox Church, for instance, is not Old Calendarist (or Old Calendar), but it is on the Old Calendar.  There are a great many Eastern Orthodox Christians who are (or who belong to Churches that are) "on the Old Calendar", but far fewer in number are the Eastern Orthodox Christians who are "Old Calendar" or "Old Calendarist."  It also should not be confused with the Oriental Orthodox churches, all of which are either "on" the Old Calendar or use their own calendar, but who are not in communion with either the Old Calendarists or mainstream Eastern Orthodoxy, although they are currently engaged in ecumenical dialogue with the latter. Saint Sava Serbian Orthodox Church (Serbian: Црква светог Саве; "Crkva svetog Save" ) is a Serbian Orthodox church in Jackson, California.  Built in 1894, the church was the first Serbian Orthodox church in America.  Amador County had a large Serbian-American population in the late 1800s due to the California Gold Rush, and the county's Serbs established the St. Sava Church Organization of Amador County in 1886–87; the organization was responsible for purchasing land for and building the church.  The church's original design had an Eastern Orthodox influence, complete with an onion dome; while the dome was later replaced by a bell tower, the church's stained glass windows and use of icons still give it a distinctive Eastern Orthodox character.  The church has been used for Serbian-American religious and social activities since its opening and is now part of the Serbian Orthodox Eparchy of Western America. In 1724 Johann Sebastian Bach composed the church cantata Meine Seel erhebt den Herren, BWV 10, as part of his second cantata cycle.  Taken from Martin Luther's German translation of the Magnificat canticle ("Meine Seele erhebt den Herren"), the title translates as "My soul magnifies the Lord".  Also known as Bach's "German Magnificat", the work follows his chorale cantata format. Singet dem Herrn ein neues Lied ("Sing unto the Lord a new song"), BWV 225 is a motet by Johann Sebastian Bach.  It was first performed in Leipzig around (probably) 1727.  The text of the three-movement motet is in German: after Psalm 149:1–3 for its first movement, the third stanza of "Nun lob, mein Seel, den Herren" (a 1530 hymn after Psalm 103 by Johann Gramann) for the second movement, and after Psalm 150:2 and 6 for its third movement. Meine Seele erhebt den Herren (My soul magnifies the Lord) is Martin Luther's translation of the Magnificat canticle.  It is traditionally sung to a German variant of the tonus peregrinus , a rather exceptional psalm tone in Gregorian chant.  The tonus peregrinus (or ninth tone) is associated with the ninth mode or Aeolian mode.  For the traditional setting of Luther's German Magnificat that is the minor mode for which the last note of the melodic formula is the tonic, a fifth below its opening note.
Answer: morning services