This aria was, like many other vocal compositions of the time, written with the basso continuo written out, allowing the musicians performing it to work out on their own or even improvise the rest of the accompaniment. Aside from making the piece easily adaptable for whatever instruments and players were available, it also allows it to take on whatever coloration the performers might wish. Strings can make it lush and warm, a harpsichord can emphasize the simplicity, or brass instruments can bring out the brilliance. The text makes a certain brilliance appropriate, as it describes the sun rising over the Ganges river, shining brightly and clearly and drying the morning dew. Though it is quite lively, there's a certain almost stateliness to the work, largely because it demands a very steady tone from the singer. There are frequent melodic repetitions that put heavy demands on the singer's art of communication to keep each repetition interesting, usually through dynamic (volume) changes and appropriate ornamentation. It's interesting to note that the work is most often presented in the key of E flat major, which was perhaps Beethoven's favorite key, and it shares some of the same warmth of Beethoven's works.

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