German sacred songs (all lost), and other sacred works. Some of Fux's masses (along with Caldara and others) utilized the canon (imitative counterpoint in its strictest form) as a compositional technique, one of the telltale signs of the stile antico. Other indications of the stile antico include large note values (whole, half, or quarter notes). However, while most associate Fux with composing in the stile antico, referring to him as the "Austrian Palestrina", due to his treatise Gradus ad Parnassum, he also had the ability to compose in the stile moderno as well, evident in his oratorios, such as Santa Dimpna, Infanta d'Irlandia. For instance, many of the movements in the second half of Santa Dimpna make use of da capo aria form, and the eight (surviving) arias demonstrate the baroque concept of the "affect", as demonstrated by the vocal coloratura and instrumental figures. Fux, along with other composers, such as Hofer, Biber, and Caldara established a solid repertory of Catholic church music in southern Germany and Austria, despite the presence of the better-known Protestant church music in northern Germany. Secular compositions Besides sacred works, Fux was a composer of vocal and instrumental music. His works include 19 operas, 29 partitas, 10 oratorios, and about 80 masses. Fux's instrumental compositions include 50 church sonatas, Concentus musico-instrumentalis (1710), and keyboard works. Fux's compositions for Clavier include five Partitas, a 20-minute Capriccio, a Ciaccona, an Harpeggio Prelude and Fugue, an Aria Passaggiata, and a set of twelve Minuets. The Concentus musico-instrumentalis is a cycle of seven partitas scored for woodwind, brass, and string instruments. This cycle, published in 1701, was to Joseph, King of Rome. Its cosmopolitan admixture of French, Italian, and German movements and its festive characteristics can be found in Fux's keyboard suites, which are heavily ornamented and treble-dominated. Most Italian operas of that period were concentrated on the solo aria. Whereas, Fux's operas employ an ensemble of solo singers and the large arias often use a concertizing solo instrument. Fux's emphasis on contrapuntal structures was conservative and represented the older manner of treating musical texture. Fux's early operas show characteristics of the late 17th century such as using arioso passages in recitatives. His style is primarily a combination of his preference for contrapuntal textures, a vivid mastery of vocal and instrumental rhetoric and Italianate ornamentation, and colorful use of obbligato scoring. Compared to his Italian contemporaries, it is Fux's