As the title suggests, this piece evokes a deeply religious and solemn atmosphere.

Judging from the number of ornaments and their application even to 16th and 32nd notes, it is evident that this piece must proceed at an extremely slow tempo.

The piece progresses from A minor to C major and then back to A minor. However, the highest note (the highest soprano voice) in this piece is found in the C major section. Tonally, C major is not a section intended for increasing volume. Consequently, the dynamic contrasts and variations in tension are entrusted to the A minor sections.

Nevertheless, high-pitched notes are not present in the A minor section. Therefore, considering the harmonic progression, for instance, one might gradually crescendo from the fourth beat of measure 1 towards the goal note on the fourth beat of measure 2, which is marked with a fermata.

Beyond this point, although there are indications of a modulation to C major, the first half concludes quietly in A minor.

The second half begins in C major, reaching a C major cadence in measure 6, from which it returns to A minor. The dynamics from this point onward are left to the performer's discretion, though ending with a crescendo towards the fourth beat of measure 8 (the final measure) is also a possibility.