probably a lost cantata from the middle or late 1720s, when Bach was especially interested in such structures. Stauffer is agnostic on the question. II. Credo ("Symbolum Nicenum") Note the nine movements with the symmetrical structure and the crucifixion at the centre. Credo in unum Deum Five-part chorus (Soprano I & II, Alto, Tenor, Bass) in A Mixolydian, no autograph tempo marking, . Stauffer identifies an earlier Credo in unum Deum chorus in G major, probably from 1748 to 1749. Patrem omnipotentem Four-part chorus (Soprano, Alto, Tenor, Bass) in D major, no autograph tempo marking, time signature of 2 with a slash through it in the autograph manuscript. The music is a reworking of the opening chorus of Gott, wie dein Name, so ist auch dein Ruhm, BWV 171. Et in unum Dominum Duet (soprano I, alto) in G major, marked Andante, . Stauffer derives it from a "lost duet, considered for "Ich bin deine", BWV 213/11 (1733). Original version also included "Et incarnatus est"; the two movements were split when Bach put together the complete Missa in 1748–49. Et incarnatus est Five-part chorus (Soprano I & II, Alto, Tenor, Bass) in B minor, no autograph tempo marking, time signature. Wolff among others argues that the "Et incarnatus est" movement was Bach's last significant composition. Crucifixus Four-part chorus (Soprano II, Alto, Tenor, Bass) in E minor, no autograph tempo marking, time signature. The music is a reworking of the first section of the first chorus of the 1714 cantata Weinen, Klagen, Sorgen, Zagen, BWV 12. Et resurrexit Five-part chorus (Soprano I & II, Alto, Tenor, Bass) in D major, no autograph tempo marking, time signature, polonaise rhythms. Et in Spiritum Sanctum Aria (Bass) in A major with oboi d'amore obbligati, no autograph tempo marking, time signature. William H. Scheide has argued that it is a parody of the sixth movement of the lost wedding cantata Sein Segen fließt daher wie ein Strom, BWV Anh. I 14 (=BWV 1144). Stauffer, however, entertains the possibility that it may be new music. Confiteor Five-part chorus (Soprano I & II, Alto, Tenor, Bass) in F minor, no autograph tempo marking (until the transitional music in bar 121, which is marked "adagio"), time signature. John Butt notes that "the only positive evidence of Bach actually composing afresh within the entire score of the mass is in the 'Confiteor' section", by which he means, "composing the