The text to the "Hymn of Praise" is not in narrative form, nor has it any particular dramatic significance. It is what its name indicates,--a tribute of praise. Lampadius says the composer undertook to show "the triumph at the creation of light over darkness. With his pious and believing heart he could easily enter into that theme, and show with matchless power and skill the closing-in of those ancient foes, and the victory of light when darkness cowered and ignobly shrank away." The expression of delight over this victory is very well brought out, not only in the music, but also in the arrangement of the Scriptural texts, which begin with exhortations of praise, and appeals to those who have been in distress and affliction to trust the Lord. The tenor, who may be regarded as the Narrator, calls upon the Watchman, "What of the night?" The response comes that the night has passed. In exultation over the victory, once more the text ascribes praise to the Lord. "All that has life and breath" sings to His name.
The symphony is in three parts, beginning with a maestoso movement, in which the trombones at once give out the choral motive, "All that has life and breath sing to the Lord,"--a favorite theme of Mendelssohn. This movement, which is strong and energetic in character, is followed by an allegretto based upon a beautiful melody, and to this in turn succeeds an adagio religioso rich in harmony. The symphony clearly reflects the spirit of the cantata, which follows. The opening chorus ("All that has Life and Breath") is based upon the choral motive, and enunciates the real hymn of praise. It moves along in a stately manner, and finally leads without break into a semi-chorus, "Praise thou the Lord, O my Spirit," a soprano solo with accompaniment of female voices. The tenor in a long dramatic recitative ("Sing ye Praise, all ye redeemed of the Lord") urges the faithful to join in praise and extol His goodness, and the chorus responds, first, the tenors, and then all the parts, in a beautiful number, "All ye that cried unto the Lord." The next number is an exquisite duet for soprano and alto with chorus ("I waited for the Lord"). It is thoroughly devotional in style, and in its general color and effect reminds one of the arias, "O Rest in the Lord" from "Elijah," and "The Lord is mindful of His own" from "St. Paul." This duet is followed by a sorrowful, almost wailing tenor solo, "The Sorrows of Death had closed all around me," ending with the piercing, anxious cry in recitative, "Watchman! will the Night soon pass?" set to a restless, agitated accompaniment and thrice repeated. Like a flash from a cloud comes the quick response of the chorus, "The Night is departing," which forms the climax of the work. The chorus is beautifully constructed, and very impressive in its effect. At first the full chorus proclaims the night's departure; it then takes the fugal form on the words, "Therefore let us cast off the works of darkness," which is most effectively worked out.