“Et incarnatus est” for five voices is based on an arpeggio figure imitated in all the parts:
The “Crucifixus,” one of the most impressive movements, is founded on a chromatic ground bass, which recurs thirteen times, the four part chorus singing various harmonies above it. This is the form of the Passacaglia, and the same bass was used by Bach in the opening chorus of the cantata, “Jesu, der du meine Seele,” though in a very different manner. “Et resurrexit” is another movement conceived in Bach’s happiest mood. It is in D major, like the Gloria, and has, if possible, even more energy and swing. This is the vigorous opening phrase:
and it is repeated for the words “Cujus regni non erit finis.”
“Et in Spiritum sanctum” forms a bass solo accompanied by two oboi d’amore.
“Confiteor unum baptisma,” a closely knit fugue on two subjects, is in five parts with an independent organ bass. After a time the tempo becomes adagio, and one of the most overpowering effects in the whole of music introduces the words “et exspecto resurrectionem mortuorum”; as it were the whole of creation is called to witness the supreme miracle of the resurrection of the dead.
The Sanctus