It fitted perfectly with his new ideas about what music should sound like. Paul made a note of the song and used it as basis for the passacaglia of the Pie Jesu. Hence the name, Requiem ‘Canario’.The Requiem ‘Canario’ has already been performed several times:

• In France: Dieppe, Abbéville and Eu by Consortium Musicum Divertimento, Soloist: Joan van den Heijkant
• In Russia: Krasnoyarsk Academic Symphony Orchestra and Chamber Choir ‘Academia’, Soloist: Vera Baranova
• In the Netherlands: Breda, The Hague and Den Bosch by Residentiekoor Den Haag, JeroenBoschKoor Den Bosch and Toonkunstkoor Breda, Soloist: Vera Baranova

From a review in BN De Stem by Joke Veltman:
“Paul van Gulick’s Requiem opened with tense chords, evoking a sinister atmosphere. The ‘Exaudi nos Deus salutaris noster’ (hear us, Lord our Saviour) thus became above all a penetrating plea to be heard. This intense cry determines the character of the entire Requiem. In the second part: “Requiem aeternam dona eis’ you could still sense the atmosphere of the underworld, reinforced by cymbals and timpani. The Kyrie brought serenity and tranquillity…

Part 3 "Going" (Philip Larkin):

The poem “Going” by Philip Larkin asks a symbolic question – where has the tree gone which linked earth to heaven? The beautiful setting for soprano solo and orchestra does justice to the doubts and wonderment generated by the poetry. The delicately crafted Sanctus reiterates the plea “O hear us”. This movement demonstrates most markedly the way in which the music is based on Gregorian plainchant, the melody passing amongst all sections of the orchestra. The Pie Jesu, Agnus Dei and Libera Me deliver no consolation but echo the supplication for eternal rest. The complex harmonies and rhythms were beautifully executed by the ensemble, under the direction of the composer …

Part 7 "Libera Me":