It's the rare new classical composition that becomes a popular hit. Stephen Paulus' oratorio "To Be Certain of the Dawn" is one such work. After giving it a world premiere in 2005, the Minnesota Orchestra revived it on Tuesday night at Orchestra Hall by popular demand, a prelude to the orchestra's recording the work later this week.

This is a major composition that will take its place amongst the great oratorios. The recording will be welcome, as the work is rich enough to yield new insights with each listening.

Commissioned by Father Michael O'Connell, rector of the Basilica of St. Mary, to commemorate the 60th anniversary of the liberation of the Nazi concentration camps, this large-scale work approaches its subject with courage and emotional forthrightness. Avoiding both sentimentality and nihilism, it is music of profound faith and genuine hope.

Much credit goes to the libretto of poet Michael Dennis Browne, who has created a liturgical work, combining both Jewish and Christian traditions, that is deeply personal as well.

The first movement was a heartfelt crying out to God. The last two movements became more personal, the second presenting dramatic vignettes of Holocaust victims, juxtaposed against the choral chants of the Nuremberg Laws, and the third sets to somber music the reflections of the survivors.

The second in particular demonstrated Paulus' dramatic skills as an opera composer, creating something challenging and disturbing. The remembrances were told with a wit that made the reality all the more painful.

Conductor Osmo Vänskä led a performance that captured both the work's horror and its humanity. The Minnesota Chorale and the Minnesota Boychoir made their usual stellar contributions, in concert with the Basilica Cathedral Choir and Choristers.

The effect of the strong quartet of soloists, led by mezzo Christina Baldwin and including cantor Barry Abelson, tenor John Tessier, bass-baritone Philip Cokorinos and soprano Elizabeth Futral, was diminished by their being placed behind the orchestra, isolating them both vocally and visually.

The short first half of thematically related composition began with Burt Hara performing the "Abyss of the Birds" for Solo Clarinet from Olivier Messiaen's "Quartet for the End of Time" from within the orchestra, the plaintive melody becoming all the more haunting for the performer being unseen.

Janet Horvath's mesmerizing solo in Max Bruch's "Kol Nidre," Adagio on Hebrew Melodies for Cello and Orchestra, Op. 47 brought the first half to a close, setting the stage for the treasure to follow.

William Randall Beard is a Minneapolis writer.