The second part opens with the "Seligkeiten" ("Hymn of Praise"), a grand declamatory solo for baritone, accompanied by a six-part chorus, which, like the next number, was written by Liszt in his younger days and utilized in its present setting. The hymn is accompanied by organ throughout, and is followed by the "Pater Noster," also with organ,--a fervent, almost passionate, offering of prayer by the precentors and congregation, closing with a mighty "Amen." In the next number--the founding of the Church ("Tu es Petrus"), beginning with male chorus--the orchestra resumes its work. The voices move on in stately manner until the words, "Simon, son of Jona, lovest thou me?" are reached, when the full chorus comes in with imposing effect. Of this number, Nohl says in his fine analysis of "Christus:"-- "The perishable, sinful world in all its aspects is here contrasted with an undoubting faith in an everlastingly constant higher ideal, to give it this name. That it is the spirit of the subject, not its mere perishable husk, is shown by the nature of the melody, which rises to the most powerful expression of the final victory of this spirit of love. Now again the full orchestra joins the double chorus; for the world, the whole world, is meant." The next scene, entitled "The Wonder," is purely instrumental, and is a marvellous picture of the storm upon the lake, which Nohl also characterizes with reference to its inner meanings:-- "The ninth scene is a marvel. 'The storms rage in contention,'--not the storms of the sea, but the storm of desires to which the weak of faith are exposed. It is not the outward marvel or superstition that is to be strengthened, but the faith of human nature in itself and its higher power and destiny. Hence the actual inner tranquillity when, after the raging orchestral tumult, 'a great stillness' succeeds Christ's words, which is ingeniously introduced with the motive of the 'Seligkeit,' because such inner purity alone bestows upon mankind effective power over the savage forces of the world." "The Entrance into Jerusalem," a graphic instrumental prelude, introduces a "Hosanna" for full chorus, followed by a "Benedictus" for mezzo-soprano with chorus,--a splendidly constructed number, which closes the second part in a style full of beauty and majesty.