The premiere of a new work is always an occasion to be relished, although often there is a certain amount of trepidation as to whether this will be a work worthy of attention.

No need for any doubts, though, with Bob Chilcott’s wonderful new Requiem, which was premiered by the combined forces of the Oxford Bach Choir and the Royal Philharmonic Orchestra on Saturday. This is, quite simply, a lovely piece; compared to many Requiems, it is gentle, thoughtful and contemplative, with some rich melodic writing, interesting texturing and constantly shifting dynamics that, to me, suggested the smoothly undulating movement of the sea, from which the two solo voices rose, light and ethereal. Soprano Elizabeth Atherton and tenor Andrew Kennedy had the perfect voices for this; able to blend with the choir or soar above it, as the music required.

The choir and orchestra, under Nicholas Cleobury’s immaculate guidance, gave an eloquent and compelling account of Chilcott’s vision, commanding the attention throughout the 35-minute duration. This is a work that it is easy to fall in love with; I could easily sit through this again and again. It would be a crime if this did not find its way into the standard choral repertoire.

Judging by the heartfelt applause at the end of the piece, it is clear that I am not the only one to feel this way. Happily, Chilcott was in the audience to receive his share of the ovation, although this modest man had to be virtually pushed on to the podium to take his bow.

After that, it seemed as though even something as stirring as Beethoven’s Mass in C would be an anti-climax. But of course it wasn’t. This glorious piece was given full value by choir, orchestra and soloists, to bring the concert to an uplifting conclusion.

But ultimately the evening belonged to Chilcott, and I suspect few in the audience would deny him that honour.