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. In the finale the male voices are massed on the declaration, "The Night is departing," and the female voices on the response, "The Day is approaching;" and after alternating repetitions all close in broad, flowing harmony. This chorus leads directly to the chorale, "Let all Men praise the Lord," sung first without accompaniment, and then in unison with orchestra. Another beautiful duet, "My Song shall alway be Thy Mercy," this time for soprano and tenor, follows, and prepares the way for the final fugued chorus, "Ye Nations, offer to the Lord," a massive number, stately in its proportions and impressive in its effect, and closing with a fortissimo delivery of the splendid choral motive, "All that has Life and Breath."