The overture, which is very dramatic in character, is followed by a powerful fugued chorus ("Behold! I will send My Messenger"), a part of which is set to organ accompaniment. The Narrator (contralto) recites the coming of the Prophet, in the orchestral prelude to which is a phrase borrowed from an old church melody which Mendelssohn also used in his Reformation Symphony, and which serves throughout the work as the motive for the Prophet, in the genuine Wagner style. Saint John is introduced in a rugged and massive baritone solo ("Repent ye, the Kingdom of Heaven is at hand"), accompanied by very descriptive instrumentation. A dramatic scene ensues, composed of inquiries as to the Prophet's mission by the People, a short chorus by the latter ("What shall we do then?") which is very melodic in style, and the resumption of the dialogue form, set to a very skilful accompaniment. This scene is followed by a characteristic aria for the Prophet, "I indeed baptize you with Water." The story is once more taken up by the Narrator, who describes the baptism of Christ. The words, "This is My Beloved Son," are given to a female choir, with exquisite accompaniment by the violins and harps. A song for the Narrator ("In the Beginning was the Word") follows, and leads to the chorus, which closes the first part, the words taken from the first verse of Psalm civ., and the melody borrowed from the familiar old tune "Hanover," which the composer has worked up with great skill and effect. The second part opens in Herod's palace with the rebuke of the Monarch by the Prophet. In this scene, as well as in others, the composer draws a strong contrast in the music assigned to the two, the one being strong and stern, the other sensuous, in style. In the duet, where Herod confesses the error of his ways, the voices unite in a genuine religious strain. The Narrator is once more introduced, and describes the feast given by the Monarch to the Galilee estates, followed by a jubilant chorus of Nobles ("O King, live forever!"), set to a brilliant accompaniment, calling for the most ample orchestral resources. The next number is a chorus for male voices ("Lo! the Daughter of Herodias cometh in, she danceth!"), set to a dance rhythm with tambourines, the themes being bits of Oriental melodies skilfully treated. We then have the banquet-scene, the admiration of the Nobles for Salome's beauty, Herod's oath, and Salome's joy expressed in a showy song ("I rejoice in my youth"). Then follows the dramatic scene of Salome's request,--a concerted number of great force in its treatment. Herod sings a mournful aria ("Alas! my Daughter, thou hast brought us very low"). The Narrator explains how the King was compelled to keep his word, and is followed by the Nobles in a stirring chorus ("Lo! the Wrath of the King is as a Messenger of Death"). The scene now changes to the dungeon, where the Prophet sings his farewell song ("A Man can receive nothing"), accompanied by orchestra and organ.