The Washington Post's Anne Midgette appraises Stephen Hough's "Requiem aeternam," an arrangement of Tomas Luis de Victoria's Requiem (1605) as a wordless string sextet, crafted as musical accompaniment to “The Sacred Made

Hough, the versatile and venturesome English musician most widely known as a concert pianist, made the arrangement for the show when it was mounted at the National Gallery in London.
"Stripping the [Requiem] of its texts, and thus of its specifically religious context, was a thoughtful echo of the secularizing process of displaying religious art works in a museum show: their aesthetic value, rather than their religious value, being in this context of primary importance to most of the show’s viewers," Midgette writes:
http://voices.washingtonpost.com/the-classical-beat/2010/04/hough_requiem_sacred_made_secu.html#more