This setting takes two verses from the office hymn for the Feast of the Transfiguration, a text that juxtaposes the radiant light of Christ with the darkness of human iniquity. I was particularly drawn to the tension between illumination and darkness in the text—a contrast that underpins the musical language of the piece. Shifting augmented harmonies and expressive dissonances aim to evoke a mood of supplication and quiet sorrow. At the centre is an extended tenor solo, which voices the hymn’s intimate petition: dignare clemens supplicum laudes precesque sumere (“kindly accept our humble praises and prayers”). The grace notes should be sung with clarity and expression, on the beat, while the choral writing—largely hummed—should remain entirely colla voce, shaped by the soloist’s line but never competing with it.