solo soprano, marked Andantino sostenuto ( = 80), on a soft ostinato accompaniment. Et resurrexit The resurrection is announced by the sopranos, first alone, then by a strong chord in the instruments which changes the E-flat they sing to D-sharp of a B major chord, in which the other voices join. After this surprise, the new text is sung to themes from the first section, concluded by "Credo". Another fugue expands the text "Et vitam venturi saeculi. (And the life of a world to come.) Amen". It ends operatic, with a stretta, a slow retarding line by all soloists, finally a last "Credo". Preludio religioso For the liturgical offertory, Rossini inserted an instrumental piece he had composed before, a combination of prelude and fugue. The prelude, sixteen measures of 4/4 Andante maestoso ( = 92), is written for piano and asks for dynamics ranging from double forte to double piano una corda. It announces at the same time the F tonality, and the modulating character of the movement, by chords borrowed from distant keys. The solemn rhythmic style ( .. ) will not recur until the four-measure postlude of the fugue. Rossini indicates that the fugue (without the postlude explicitly written for piano) may be played equally on piano or harmonium. In 3/4, Andantino mosso ( = 76) with a regular rhythm of eighth notes, the fugue has a theme in the form of a turn like the BACH motif, which has the same chromatic opening as the famous subject of the Fantasy and Fugue on the Theme B-A-C-H by Franz Liszt. Rossini proves both his inventiveness (particularly at the level of management of the tonality, which frequently evolves into distant keys) and his impressive capacity for mastering the contradictions. The structure begins classically with a fugue with the exposition of the subject successively in the three voices at a piano dynamic. The turn motif in F minor is repeated four times at the interval of a rising third (C , E , G , and B), followed by a development by a sequence of arpeggios in descending thirds. The melodic line proceeds to the dominant to accompany the exposition of the subject in the second voice, with a series of eighth notes arranged in a constant interval of a third or a sixth with the subject. This arrangement repeats itself during the exposition of the subject in the third