the strictures of the Council of Trent against excessive polyphonic practice, Porta evidently felt unobliged to follow them; perhaps he had sufficient confidence in his skill in conveying the text. His music is as carefully controlled as that of Palestrina, with cautious use of dissonance and chromaticism, while displaying polyphonic virtuosity to a degree uncommon in other composers of sacred music at the end of the 16th century. Some of the later motets use polychoral writing extensively. 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. Most likely he was familiar with the current practice in Venice, and adopted some of the innovations which worked best with his highly learned style. Porta also wrote madrigals. Many of these were clearly intended for specific occasions, such as weddings and large social events in the families of his employers; they are in a much simpler style than his sacred works, much in keeping with contemporary practice. Notes Sources Lillian Pruett: "Costanzo Porta", Grove Music Online, ed. L. Macy (Accessed December 5, 2007), (subscription access) External links Recercare sopra ut re mi fa sol la: https://m.youtube.com/watch?v=9e2OfcWa48E 1520s births 1601 deaths Italian classical composers Italian male classical composers Renaissance composers Venetian School (music) composers Burials at the Basilica of Saint Anthony of Padua Musicians from Cremona Pupils of Adrian Willaert