is evidence that the polychoral aspects did not always involve wide spacing. For example, in Ugolini's Exultate Omnes there are trio passages for all the sopranos, tenors and altos from each choir together. This would have been impractical if the singers were widely separated, due to the physical limitation imposed by the speed of sound. On the other hand, some pieces were very likely to have been performed with singers and players distributed widely, in venues such as Salzburg Cathedral; for maximum effect and practicality, much of this music was antiphonal or exploited echo effects. Orazio Benevoli became confused with Heinrich Biber and Stefano Bernardi in the celebrated mixup over the authorship of the Missa Salisburgensis, now assigned to Biber and provisionally dated to 1682. Works we may consider to be examples of the Colossal Baroque style were frequently ceremonial works, composed for special occasions (coronations, weddings, religious festivals, municipal functions, victory celebrations, et cetera). These works were frequently performed with unusually large musical forces. From time to time the scores of such works may have been presented to the aristocrat hosting or the subject of the event. As a result, many scores of large-scale 16th- and 17th-century works have been lost. Heinrich Schütz composed a musical setting of Psalm 136, Danket dem Herren, denn er ist freundlich which included three vocal choirs, 12 cornetti and 18 trumpets. This score is also now lost. Some composers Composers of the 17th century who composed works in the colossal style include: Orazio Benevoli (1605–1672). Heinrich Ignaz Franz von Biber (1644–1704). Dietrich Buxtehude Marc-Antoine Charpentier Giovanni Gabrieli Stefano Landi Heinrich Schütz Joannes Baptista Dolar Johann Joseph Fux Andreas Hofer Jean-Baptiste Lully Vincenzo Ugolini (c. 1580 – 1638) Works which may be considered to be in the "Colossal Baroque" style Giovanni Gabrieli: Sonata XX à 22 Giovanni Gabrieli: Magnificat à 33 voci Michael Praetorius: In Dulci Jubilo à 12, 16, & 20 cum Tubis Stefano Landi: Missa à 12 chori (music lost) Heinrich Schütz: SWV 476 - Domini est terra (this work features two vocal choirs, 2 cornettini, 5 dulcians, 2 violins, 4 trombones) Heinrich Ignaz Franz von Biber: Missa Salisburgensis à 53 voci Jean-Baptiste Lully: Te Deum (Lully conducted a performance with a choir of 300 singers and an orchestra of a similar size) Marc-Antoine Charpentier: Messe à quatre chœurs Dietrich Buxtehude: BuxWV 113 - Benedicam Dominum in omni tempore à 24 (this