| # | Title | Rating | Length |
|---|
| 1 | Part II Credo (or Symbolum Nicenum) • I Credo in unum Deum (five part chorus - soprano I, II, alto, tenor, bass) | | 2:13 |
| 2 | Part II Credo (or Symbolum Nicenum) • II Patrem omnipotentem (four part chorus - soprano, alto, tenor, bass) | | 2:20 |
| 3 | Part II Credo (or Symbolum Nicenum) • III Et in unum Dominum (duet - soprano I, alto) | | 4:48 |
| 4 | Part II Credo (or Symbolum Nicenum) • IV Et incarnatus est (five part chorus - soprano I, II, alto, tenor, bass) | | 3:02 |
| 5 | Part II Credo (or Symbolum Nicenum) • V Crucifixus (four part chorus - soprano II, alto, tenor, bass)- alto vocals:
- Wilke te Brummelstroete
- bass vocals:
- Tom Sol
- choir vocals:
- Laurenscantorij Rotterdam
- soprano vocals:
- Hieke Meppelink
- tenor vocals:
- Nico van der Meel
- orchestra:
- Concerto Amsterdam
- conductor:
- Barend Schuurman
- recording of:
- h-Moll-Messe, BWV 232: II. Symbolum Nicenum: V. Crucifixus
- composed in:
- Leipzig, Sachsen , Germany (from 1747 until 1749)
- composer:
- Johann Sebastian Bach
- is based on:
- Kantate, BWV 12 "Weinen, Klagen, Sorgen, Zagen": II. Coro "Weinen, Klagen, Sorgen, Zagen"
- part of:
- h-Moll-Messe, BWV 232
| | 3:20 |
| 6 | Part II Credo (or Symbolum Nicenum) • VI Et resurrexit (five part chorus - soprano I, II, alto, tenor, bass) | | 4:26 |
| 7 | Part II Credo (or Symbolum Nicenum) • VII Et in Spiritum Sanctum (aria - bass) | | 4:53 |
| 8 | Part II Credo (or Symbolum Nicenum) • VIII Confiteor (five part chorus - soprano I, II, alto, tenor, bass) | | 6:45 |
| 9 | Part III Sanctus • I Sanctus (six part chorus - soprano I, II, alto I, II, tenor, bass) | | 4:59 |
| 10 | Part IV Osanna, Benedictus, and Agnus Dei • I Osanna (double four part chorus)- alto vocals:
- Wilke te Brummelstroete
- bass vocals:
- Tom Sol
- choir vocals:
- Laurenscantorij Rotterdam
- soprano vocals:
- Hieke Meppelink
- tenor vocals:
- Nico van der Meel
- orchestra:
- Concerto Amsterdam
- conductor:
- Barend Schuurman
- recording of:
- h-Moll-Messe, BWV 232: IV. Osanna, Benedictus, Agnus Dei, Dona nobis pacem: I. Osanna in excelsis
- composed in:
- Leipzig, Sachsen , Germany (from 1747 until 1749)
- composer:
- Johann Sebastian Bach
- is based on:
- Kantate, BWV 215 "Preise dein Glücke, gesegnetes Sachsen": I. Coro I/II "Preise dein Glücke, gesegnetes Sachsen"
- part of:
- h-Moll-Messe, BWV 232
| | 2:50 |
| 11 | Part IV Osanna, Benedictus, and Agnus Dei • II Benedictus (aria - tenor) | | 3:58 |
| 12 | Part IV Osanna, Benedictus, and Agnus Dei • III Osanna (da capo double four part chorus)- alto vocals:
- Wilke te Brummelstroete
- bass vocals:
- Tom Sol
- choir vocals:
- Laurenscantorij Rotterdam
- soprano vocals:
- Hieke Meppelink
- tenor vocals:
- Nico van der Meel
- orchestra:
- Concerto Amsterdam
- conductor:
- Barend Schuurman
- recording of:
- h-Moll-Messe, BWV 232: IV. Osanna, Benedictus, Agnus Dei, Dona nobis pacem: III. Osanna repetatur
- composed in:
- Leipzig, Sachsen , Germany (from 1747 until 1749)
- composer:
- Johann Sebastian Bach
- is based on:
- Kantate, BWV 215 "Preise dein Glücke, gesegnetes Sachsen": I. Coro I/II "Preise dein Glücke, gesegnetes Sachsen"
- part of:
- h-Moll-Messe, BWV 232
| | 2:47 |
| 13 | Part IV Osanna, Benedictus, and Agnus Dei • IV Agnus Dei (aria - alto) | | 5:01 |
| 14 | Part IV Osanna, Benedictus, and Agnus Dei • V Dona nobis pacem (four part chorus) | | 3:40 |
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