If not actually authentic, the Requiem is done in a plainsong or Gregorian Chant style of the sort often on looped playback as background music for a cathedral or abbey. Of course, Preisner uses more complex harmony and melody than the real thing and adds a string quintet, percussion and church organ to the small ensemble of vocal soloists. The liturgical sound and sparse resources return to the more liturgical sound of early church works and away from the opulence of the large choral works of Verdi or Berlioz. Although there are some striking outbursts - notably during the Lacrimosa - Preisner often doesn't move the music beyond a whisper, often leaving the listener hanging, perhaps to consider the meaning of the words and feel the silence. Depending on attention span, this is either inspiring or hard work. It's certainly not something one might wish to listen to often as the cumulative effect is rather depressing, even though repeat listens are ultimately rewarding.
Life sets its cards on the table from the outside, as the organ of the final Epitaphium fades away a saxophone opens up Meeting. This is then joined by the rest of the orchestra and then chorus. I'm not sure whether Preisner intended to provide any kind of smooth segue between to the two sections, but Life is so far removed from the Requiem that is probably better to regard it as an entirely separate work. Having said that, the liturgy of the Requiem becomes the melancholy of Life and although there is considerably more movement, the general ambiance is one of sadness where even Love is treated with haunting rather than romantic tones. Kai Kairos reprises the style of the Requiem making it one of the few obvious links (aside from the choir) between the halves, but the more up to date style returns with the strident chanting of Ascende hue which, curiously, echoes Preisner's fellow countryman Kilar's Dracula.
I suspect that few could fail to appreciate the beauty of the Requiem, but will ultimately be mostly drawn to Life for its more colourful aural palette. Reading other reviews, as I often do just to gauge the general consensus on some CDs, it's interesting to note how those writing with a film music perspective like the second half of this disc and those from a classical point of view, are far more impressed with the first half. Although the Part One and Part Two monikers suggest two halves of a complete work, they are so different that treating them independently seems a more logical option. There is certainly no organic growth from the plaintive Requiem to the broader Life, although to my mind, that kind of approach - from the meditative to the more celebratory and life affirming - would have resulted in a more coherent composition. Still, a fine work worth getting to know.
Rating ~ 
Part Two - Life
The Beginning:
Total Time ~ 68:22