Venetian polychoral style
polychoral technique

Most of his music is in the Venetian polychoral style, which uses numerous voices divided into several groups.

It was one of the most important instruments in Baroque Venetian polychoral style works, along with the cornetto and organ (music).

Some of his music uses the massive Venetian polychoral style, especially that written before the Thirty Years' War.

See also Venetian polychoral style and Venetian School.

This motet for 8 voices shows evidence of influence by the Venetian polychoral style, with its use of the coro spezzato technique.

A more technical definition of this is a Venetian polychoral style which arose from architectural peculiarities with regards to St Mark's Basilica.

These compositions are mainly homophonic in texture, aiming more for effect through alternation of sonority than counterpoint, a characteristic of the Venetian polychoral style.

The construction of the cathedral in Puebla made the composition and performance of polychoral music possible, especially compositions in the Venetian polychoral style.

The Venetian polychoral style was a type of music of the late Renaissance and early Baroque eras which involved spatially separate choirs singing in alternation.

While a fairly minor figure in the Venetian School, he was a competent composer of madrigals and wrote a few works in the grand Venetian polychoral style.

Stylistically they conform to the typical practice of divided choirs and groups of instruments used by the other composers at St. Mark's (see Venetian polychoral style, concertato).

He wrote motets and concerti ecclesiastici (sacred concertos) in the Venetian polychoral style; and he also wrote madrigals, canzonettas and some purely instrumental music.

Priuli wrote both sacred and secular music, in both conservative and progressive styles, including the Venetian polychoral style; he was one of the composers who imported it to German-speaking lands.

The Venetian polychoral style was an important innovation of the late Renaissance and this style, with its variations as it spread across Europe after 1600, helped to define the beginning of the Baroque era.

Polychoral techniques are a definitive characteristic of the music of the Venetian school, exemplified by the works of Giovanni Gabrieli: this music is often known as the Venetian polychoral style.

Some of his masses show influence from the Venetian School, particularly in their use of Venetian polychoral style techniques (for example, in the eight-voice 'Missa osculetur me', based on his own motet).

The spacious interior of the building with its multiple choir lofts was the inspiration for the development of a Venetian polychoral style among the composers appointed maestro di cappella at the choir of St Mark's.

Psalmen Davids (Psalms of David) is a collection of sacred choral music, settings mostly of psalms in German by Heinrich Schütz, who had studied the Venetian polychoral style with Giovanni Gabrieli.

Although Porta was not in Venice in the late part of the century, where this style had become famous (see Venetian polychoral style), he had spent years there as a student studying with Willaert, and the influence clearly lasted throughout his life.

Nearly as compelling was the "Resurrection Canon" by Mykola Diletsky, a composer who flourished at the end of the 17th century, and whose work combines cosmopolitan influences - most notably that of the Venetian polychoral style - with melodies drawn from folk dances.

By 1601 Franck was in Nuremberg, as a music teacher; there he met Hans Leo Hassler, and learned from him both the Venetian polychoral style and the polyphonic style of the high Renaissance, both of which he incorporated into his own composition.

During the 16th century, Venice became one of the most important musical centers of Europe, marked by a characteristic style of composition (the Venetian school) and the development of the Venetian polychoral style under composers such as Adrian Willaert, who worked at St Mark's Basilica.

His music of this time uses repetition of phrases with different combinations of voices at different pitch levels; although instrumentation is not 'specifically' indicated, it can be inferred; he carefully contrasts texture and sonority to shape sections of music in a way which was unique, and which defined the Venetian polychoral style for the next generation.

He wrote masses and motets, some of which are for as many as 12 voices, and which often use polychoral techniques.

His earlier music is mostly in the Palestrina style of balanced polyphony, though he used polychoral techniques, in keeping with northern Italian practice.

After returning from Italy, Hassler incorporated polychoral techniques, textural contrasts and occasional chromaticism in his compositions.

However, its constant use of the dominant seventh chord and its emphasis on polychoral techniques certainly put it out of the range of prima pratica.

A masterpiece of polychoral techniques, it also epitomises Baroque and Renaissance styles, with its prolific use of pedal points and extended plagal cadences.

Raselius's work shows evidence of both Flemish and native German influences, but his compositions of 1595 show that he had thoroughly mastered the polychoral techniques of Italy.

Some of his masses show influence from the Venetian School, particularly in their use of polychoral techniques (for example, in the eight-voice Missa osculetur me, based on his own motet).

Polychoral techniques are a definitive characteristic of the music of the Venetian school, exemplified by the works of Giovanni Gabrieli: this music is often known as the Venetian polychoral style.

In particular, one of his best-known pieces, In Ecclesiis, is a showcase of such polychoral techniques, making use of four separate groups of instrumental and singing performers, underpinned by the omnipresent organ and continuo.

Where the rest of the music on the program used polychoral techniques (occasionally trimmed back so that the English texts could be understood), Weelkes used short repeating figures to create interlocking patterns, a technique the Minimalists would discover nearly 400 years later.

While this was also a technique which developed in Venice, it was widespread by the end of the 16th century: almost all composers of sacred polyphony used polychoral techniques at some time, especially those working in large acoustical environments (such as most cathedrals in Europe).

He also composed liturgy music for the Orthodox Church, combining the Eastern and Western European styles of sacred music, incorporating the polyphony he learned in Italy; some works were polychoral, using a style descended from the Venetian polychoral technique of the Gabrielis.