Wilberg's Requiem, which the 360-voice choir premiered last year as part of the Salt Lake Tabernacle rededication celebration, is as gentle and life-affirming as one would expect from him. As musical settings of the Roman Catholic funeral Mass go, it belongs to the Fauré/Brahms family, as opposed to the Berlioz/Verdi. The structure recalls Brahms, the musical language recalls Vaughan Williams, but Wilberg's voice comes through clearly in this most engaging work. Of particular note is "O Nata Lux," one of the loveliest pieces Wilberg has ever written. It features exquisite singing from the women of the choir and a haunting cello solo from Julie Bevan. (The ever-democratic Wilberg gives the men of the choir a chance to shine later on the disc; the intimacy and transparency of their singing in the unaccompanied motet "Ubi Caritas et Amor" are remarkable for an ensemble of this size.)

Opera greats Bryn Terfel and Frederica von Stade are the soloists in the Requiem. Baritone Terfel, featured in three movements, sounds magnificent as always; mezzo von Stade is still a moving interpreter, and Wilberg's setting of "How Lovely Is Thy Dwelling Place" suits her voice beautifully.

The five shorter choral works that round out the disc complement the Requiem exceptionally well. Craig Jessop's sensitive direction of the choir and Orchestra at Temple Square is praiseworthy throughout.