This collection of plainsong settings was inspired, in part, by Dupré’s Le Tombeau de Titelouze. However, unlike Dupré’s work, in which each individual piece is gradually more challenging, Lumen Christi does not have a specific pedagogical intent, although the various movements present to the organist an array of technical challenges. And whereas Le Tombeau de Titelouze spans the liturgical year from Advent to All Saints, the liturgical focus of Lumen Christi is Holy Week and Easter, beginning with Vexilla Regis prodeunt (Palm Sunday) and ending with Aurora lucis rutilat (Easter Day and beyond). Among the settings, there are several that will have a year-round liturgical application in Eucharistic services and adorations of the Blessed Sacrament. Numbers 1, 3, 5 and 7 are generally louder; 2, 4 and 6 are softer feature canonic writing. I: Vexilla Regis prodeunt Making a dramatic opening movement if these pieces are performed together in concert, this first setting may be used liturgically as a striking prelude to the procession on Palm Sunday. Phrases of the plainsong (in octaves between the hands and feet) are interspersed with various interludes, while the third line of the cantus firms is presented more intimately. II: Ubi caritas et amor The second piece is a type of mensuration canon: the right hand presents the cantus firmus in rhythmic form; while the lower voice (in the left hand) presents it at the 5th in longer, equal note-values. The lengths of the interludes between the end of each phrase in the right hand and the commencement of the next are dictated by the number of remaining notes in the slower-moving form of the cantus firmus. III: O salutaris hostia The cantus firmus is in semibreves in the bass throughout. The contrapuntal material in the manual parts is derived from the plainsong. The third line of the hymn is given a more homophonic, fanfare-like accompaniment, reflecting the text ‘Bella premunt hostilia’. IV: Pange lingua gloriosi Here the canon in is at the unison. The leading voice is found at the top of the right hand texture, while the following voice is in the pedals on a 4’ stop at a bar’s distance. The mood is gentle and deeply devotional. V: Ad cenam Agni providi This piece bursts with joy and expectant hope. The cantus firmus is presented as a bold solo in the right hand, while the undulating left hand part represents the waves of the Red Sea. VI: Adoro te devote In this setting the canon is at the octave: both lines containing the cantus firmus are played by the feet, thus calling for skilful double-pedalling on the part of the player. VII: Aurora lucis rutilat The suite concludes with a solemn yet joyous sortie, highly suitable for use as a final voluntary during the Easter season. Each phrase of the plainsong hymn is treated as a fugal exposition until the cantus firmus thunders in the pedals. Following a flourish on the Tuba, the piece (and the whole work if performed in its entirely in a concert) ends with a climatic ‘Amen’.