Prelude — Les Barricades Mystérieuses
François Couperin (1717) · piano
Couperin composed this enigmatic piece for harpsichord in 1717. Notice how the music unfolds in broken chords, harmonies that slowly reveal hidden melodies. On Transfiguration Sunday, this mysterious prelude invites us into sacred uncertainty — the “unknown” that precedes revelation.
Introit — Lord, for Thy Tender Mercy’s Sake
attr. Richard Farrant (c. 1525–1580) · choir & organ
This Tudor-era anthem draws its text from Lidley’s Prayers (1566): “Lay not our sins to our charge, but forgive that is past, and give us grace to amend.” We are not sure who wrote this masterwork, but it is generally attributed to Richard Farrant, who served as Master of the Choristers at St. George’s Chapel, Windsor, and founded the first Blackfriars Theatre. This timeless, serene prayer for mercy prepares our hearts to ascend the mountain with Christ.
Hymn of Praise — Immortal, Invisible, God Only Wise
Walter Chalmers Smith (1867), tune: ST. DENIO · HPP #37, vv. 1, 3, & 4
Walter Chalmers Smith (1824–1908) was a Scottish Free Church minister wrestling with how to sing about the ineffable — the God beyond all words. Notice that “light” dominates every stanza: we cannot see God not because of darkness, but because “the splendor of light hides [God] from view.”
This hymn mirrors the Transfiguration itself — where Jesus’ face “shone like the sun” and his clothes became “dazzling white.”
Interlude for Reflection — Clair de Lune
Claude Debussy (c. 1890) · organ
Debussy wrote this piece at the turn of the 20th century, a time of overwhelming social and scientific change. The title means “light of the moon,” inspired by a poem by Paul Verlaine. On a day when we celebrate divine radiance breaking through, we pause with a reminder of a gentler light — the moon’s glow, a reminder that even reflected glory can transform the landscape.
Anthem — Pachelbel’s Canon of Peace
Johann Pachelbel (c. 1680) · choir & organ · Jean Prior, flute solo
Johann Pachelbel composed his famous Canon in the 1680s, but it sat unheard for centuries until it was revived in the 20th century. This choral arrangement adds words of peace to Pachelbel’s timeless music — a reminder that the Transfiguration was not spectacle for its own sake but preparation for the peace of salvation.
Hymn of Reflection — Lead, Kindly Light
John Henry Newman (1833) · HPP #425
John Henry Newman wrote these words in 1833 while stranded on a ship in the Mediterranean, gravely ill and longing for home: “The night is dark, and I am far from home, Lead thou me on!” Newman later became a Catholic cardinal and was canonized as Saint John Henry Newman in 2019.
As Peter, James, and John descend from the mount of glory into the valley of ordinary life, this hymn becomes their prayer — and ours: one step is enough.
Response — Morning Has Broken
Eleanor Farjeon (1931), tune: BUNESSAN · organ
This famous tune invites us to greet each morning as if witnessing Eden’s first dawn. “Praise for the singing! Praise for the morning! Praise for them springing fresh from the Word!” On Transfiguration Sunday, we are reminded that Christ’s glory is here in the present moment — the new creation breaks in every sunrise.
Offertory — Shine, Jesus, Shine
Graham Kendrick (1987)
Graham Kendrick wrote this song in 1987, inspired by 2 Corinthians 3:18: “And we all, who with unveiled faces contemplate the Lord’s glory, are being transformed into his image with ever-increasing glory.” That verse could almost serve as the thesis of this Transfiguration Sunday! Notice the progression: we gaze on Christ’s brightness, and then “our faces display your likeness” — we become what we behold.
Closing Hymn — This Little Light of Mine
attr. Harry Dixon Loes (c. 1920s) · HPP #466
This American gospel song is based on Matthew 5:14–16: “You are the light of the world… let your light shine.” During the Civil Rights Movement, activists transformed it into a freedom song, singing it in jail cells and on marches. We leave worship not to hoard glory but to let it shine — everywhere we go!
Postlude — Toccata in C minor, BWV 911
J. S. Bach · organ
Bach’s toccata erupts with an agitated, almost timeless flourish that breaks free of meter, before gathering itself into intricate counterpoint. Scholars have called it “concentrated virtuosity,” filled with extravagant gestures and vocal-like recitatives. As we descend from this mountaintop celebration into the valley of ordinary time, let these cascading passages propel you forward — carrying the Transfiguration’s fire into the week ahead.