A work of this type presents particular challenges to the composer. The text of the anthem is comprised of a series of short independent prayers or prayerful reflections which are interspersed with celebratory acclamations of a more secular nature. The result may appear to be a curious hybrid of the sacred and the profane; an attempt to span too wide a range - from religious devotion to sentiments of loyal approbation. The music aims to fuse these different elements into a convincing artistic whole, but the listener will decide if the attempt has been successful.

A short orchestral introduction establishes the opening key of D minor.
This leads directly into the first section of the anthem in which the male voices chant a prayer for the good estate of Her Majesty. The text of this prayer - Domine, salvam fac Reginam nostram Elisabeth - forms part of the traditional Tridentine liturgy of  the Latin Mass and is performed in the style of Gregorian plainsong. As these words fade away, an orchestral flourish announces a declamatory fanfare - Vivat Elisabeth! -the traditional
acclamation sung by the gentlemen of the Chapel Royal to greet the monarch
on certain state occasions.
A more reflective section follows as the chorus sings the hymn - God, our
Father, world's Creator. This begins quietly in simple harmony and is then repeated in unison with more elaborate orchestral figuration. It is followed by a complete contrast with a lively fugato treatment of the opening Latin prayer Domine, salvam fac Reginam nostram Elisabeth. This busy episode, with its profusion of overlapping vocal entries, can be taken as a figurative
representation of the insistent prayers of the faithful which are
clamouring to be heard.

A complete change of mood opens the fifth section of the anthem. The
orchestra frames this section with a gentle, rhythmic motif. This is a prayer for the protection of Her Majesty - Father, guard  her from all harm and danger. Once again, the unison reprise offers the opportunity for fuller orchestral accompaniment.
The sixth part  of the work is a robust exposition in vigorous declamatory
style, reflecting upon the devotion to duty which has marked the Queen's
approach to her national responsibilities. This section is then repeated and the opening hymn - God, our Father, world's Creator- returns as a countermelody. The orchestra meanwhile adds a lively accompaniment. During the course of the anthem, brief references to familiar national melodies add an occasional counter-point to the musical texture.

The music returns to a choral homophonic style for a final prayer of
thanks for the blessings of Providence - For all these
events, and for the changing course of life. The work draws to a close
with the initial plainsong prayer - Domine, salvam fac Reginam
nostram Elisabeth - being sung by the male voices. The Vivat Elizabeth!
fanfare is heard for the last time, but on this occasion the
original lively acclamation is given a more reflective setting. The anthem
fades as the music takes us to the distant future while the unaccompanied choir whispers the final Amen