The oratorio opens with a brief instrumental introduction and chorale ("Ye Christian People, now rejoice") for sopranos alone, the melody of which first appeared in the "Geistliche Lieder," issued at Wittenberg in 1535. The words are a translation of the old hymn, "Nun freut euch, lieben Christen G'mein," to which the tune was formerly sung in Germany. The treatment of this chorale, by combining it with the instrumental movement in opposing rhythms, shows the powerful influence which the composer's close study of Bach had upon him. Its effect in introducing the scenes which follow reminds one of the grace before the feast. It dies away in slow and gentle numbers, and then follows the opening recitative of the oratorio proper ("Then cometh Jesus to a City of Samaria"), sung by the contralto, and leading up to an arioso chorus ("Blessed be the Lord God of Israel"), the words taken from the Gospel of Saint Luke. The next number is a very graceful and artistic combination, opening with recitative for contralto, bass, and soprano, leading to an adagio solo for bass ("If thou knewest the Gift of God"), and ending with a closely harmonious chorus in the same rhythm ("For with Thee is the Well of Life"), the words from the Psalms. The dialogue between Jesus and the Woman is then resumed, leading to a solo by the latter ("Art Thou greater than our Father Jacob?"). The question is sung and repeated in declamatory tones constantly increasing in power and expressive of defiance. Bennett was a bitter opponent of Wagner; but in the unvocal and declamatory character of this solo, and in the dramatic force he has given to it, to the sacrifice of melody, he certainly ventured some distance in the Wagnerian direction. The next number, the reply of Jesus ("Whosoever drinketh"), sung, as usual, by the bass voice, is in striking contrast with the question. Instead of full orchestra, it has the accompaniment of the strings and first and second horns only, reminding one of Bach's method of accompanying the part assigned to Jesus in his St. Matthew Passion. This number is followed by a spirited fortissimo chorus ("Therefore with Joy shall ye draw Water"), sung to the full strength of voice and orchestra. After the dialogue in which Jesus acquaints the Woman with the incidents of her past life, the contralto voice has an exquisite solo ("O Lord, Thou hast searched me out"), full of tenderness and expression, in which the opening phrase is repeated in the finale and gains intensity by a change of harmony. The dialogue, in which the divine character of Jesus becomes apparent to the Woman, is resumed, and leads to a beautifully constructed chorus in six parts ("Therefore they shall come and sing"), followed by an impressive and deeply devotional quartet for the principals, unaccompanied ("God is a Spirit"),--to which an additional interest is lent from the fact that it was sung in Westminster Abbey upon the occasion of the composer's funeral.