Besides creating a lovely setting for this traditional tune, this chorale prelude is full of variation techniques that generate almost impressionistic imagery from the most simple of materials; the listener gradually experiences "how beautifully shines the morning star."

Opening in a flowing 6/4 time, this work offers a fine lesson in the building of chains of suspensions and asymmetrical phrasing. In the first measure, one lone note is heard and then the rest of the melody is given to the pedal (Buxtehude's 52-stop organ in Lübeck had 15 stops or timbre registers for the pedal alone) for this first eight measure phrase. The upper voices on the manuals weave lovely patterns based on scales and simple triadic arpeggios above the bass melody. One extra measure is, as it were, tacked on to the end of the phrase during which the bass is silent and the upper voices continue to hover in the air.

The bass enters again and the next eight-measure phrase occurs on the dominant. Again, an extra measure is added with the same floating effect (the star hangs in the sky).

The next seven measures are a beauteous and touching chain (or bridge) of slowly descending, suspended sevenths over mostly a scale-wise bass, also descending. The tonic chord is now extended in this phrase over four measures to a cadence (making an 11-measure final phrase) and a total theme spread over 29 measures.

The entire phrase is recapitulated in the next 28 measures (the final cadence is interrupted). The melody is in the treble voice this time and the flowing material is easily played on the two manuals sans pedal.

Suddenly at measure 58, the meter switches to common time and flashy, trumpet-like figures (fast scale-wise notes surrounding a central tone) descend twice, interrupting the peaceful mood, like new rays of light. Then two sets of ascending triplets rise to the heights and continue to hang there. The passage ends with a complex quasi-improvisatory cadence that heralds the beginning of a spectacular fantasy.

Switching to a pastoral, happy 6/8 meter, there follow six long phrases, all brilliant yet simple variations built over steadily descending G major scales. A gentle cadence, marked piano, brings this section to a momentary rest.

The meter changes to 12/8 and a lively three-part fugue, based on a condensed version of the original melody, begins. At measure 170, this becomes a skipping and rolling (arpeggios) obsession on two chords. At measure177, aspects of the fugue and descending scale idea give a wonderful celebratory feeling to the last part of the chorale prelude, which concludes with an elaborated plagal (amen) cadence.

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