It is scored for mixed choir, tenor soloist, four boy singers, strings, piano duet, organ and percussion.

[3][4] Writing for the resources available, Britten scored the piece for mixed choir, tenor soloist, four boys, strings, piano duet, organ and percussion.

[1][3][5] Britten's dedication reads: "This Cantata was written for performance at the centenary celebrations of Lancing College, Sussex, on 24 July 1948".

[4] Crozier's libretto paints a dramatically bold portrait of the saint's character, exaggerating the legends and glory that have accumulated over the centuries around Nicholas's story.

After being implored to "Strip off [his] glory", Nicolas responds in a flourish, speaking to the choir, "Across the tremendous bridge of sixteen hundred years…” The first movement ends with a choral prayer.

The second movement begins the depiction of Nicolas' life, recounting the story of his miraculous birth, when “…from his mother's womb he sprang and cried, 'GOD BE GLORIFIED!’” Stories of his childhood continue, punctuated by the refrain "GOD BE GLORIFIED!”, sung by the boy Nicolas (portrayed by the 'youngest boy in the choir', as specified by the composer.)

At the moment that Nicolas becomes a man, Britten colours the melody's supporting harmonies in a much more dissonant manner, using a semitone clash to darken the simple refrain.

The third movement is sung by Nicolas alone, who recounts how "My parents died … All too soon I left the tranquil beauty of their home … and knew the wider world of men".

The female chorus, singing from the galleries, represents the winds and tempests; the girls' voices describe the terrifying storm, pausing only for the sailors' cries for mercy.

[4] While the strings and piano accompaniment are generally centred on a D minor chord, the vocal melody is highly chromatic and dissonant.

"[4] Like the second and fourth movements, the seventh employs a diatonic mode (here it is B-Aeolian) and a memorable tune sung by the chorus.

This movement is a choral song of praise to Nicolas, briefly recounting several different stories of his mercy, charity, and kindness.

He sings, "Lord, I come to life, to final birth ..."[4] using a highly chromatic melody characteristic of the tenor's solo section.

Simultaneously, the chorus chants the Nunc dimittis using the Gregorian "fourth tone" (on which the music of the orchestral introduction is also based).

"[4] After an energetic instrumental interlude (again based on the plainchant), the cantata closes with a congregational hymn praising God's mysteries and the courage of the saints.