Mostly inhabiting a hushed pianissimo, the free floating melismas and luminous harmonies of this work for two antiphonal choirs of female voices explore one word: ‚chiara' (‚clear' in Italian) and its equivalents in a few other languages. Knussen, somewhat cryptically, writes that the piece ‚has something to do with St Clare, angels, and canons.' The striking atmosphere - fleeting, hauntingly elusive and almost mystical - makes Frammenti da 'Chiara', his only choral work, ripe for rediscovery.