Music director David Robertson and vice president for artistic administration Jeremy Geffen are becoming known for imaginative programming; this weekend's concerts offer a good example. The works chosen to go with the Requiem complemented it well: Josquin des Prez's "Nymphes des bois" and Gyorgy Kurtag's "Stele," op. 33.

"Nymphes," written for mixed unaccompanied voices, is an elegy for Josquin's teacher, Johannes Ockeghem (c. 1410-1497). Because the stage was packed with instrumentalists for "Stele," a group from the St. Louis Symphony Chorus was strung out along a narrow path. It's hard to hear one another properly in that configuration, which probably accounted for some minor tuning issues, excessive vibrato and prominent individual voices. It's a touching piece, and was touchingly performed.

"Stele" was also written as an elegy, for the Hungarian composer Andras Mihaly (d.1993). As massive as the Josquin is austere, it required 113 players, with extras in every section. A dense work (with deliberate tuning issues) in three movements, it moves from the quiet to the frantic, and concludes with a dark progression cut off in mid-chord. It made for an apt juxtaposition with both the Josquin and the Requiem to follow.

Robertson's reading of the Requiem was very unlike from that of the late Hans Vonk, who led it here in 2001, showing how different interpretations can be equally satisfying. This was a tight, fast reading, barely breaking between movements, with a sense of urgency.

The solo quartet was outstanding and well-matched: soprano Christine Brewer (singing with her accustomed clarion tone), mezzo-soprano Marietta Simpson, tenor Stanford Olson and bass Philip Ens. Assistant principal trombone Stephen Lange offered cherishable solo work in the "Tuba mirum." Amy Kaiser's chorus sang well overall, with just a few splatters in the first sopranos.