the sonata. The peak of development of the style was in the late 1580s and 1590s, while Giovanni Gabrieli was organist at San Marco and principal composer, and while Gioseffo Zarlino was still maestro di cappella. Gabrieli seems to have been the first to specify instruments in his published works, including large choirs of cornetti and sackbuts; he also seems to be one of the earliest to specify dynamics (as in his Sonata pian' e forte), and to develop the "echo" effects for which he became famous. The fame of the spectacular, sonorous music of San Marco at this time spread across Europe, and numerous musicians came to Venice to hear, to study, to absorb and bring back what they learned to their countries of origin. Germany, in particular, was a region where composers began to work in a locally-modified form of the Venetian style—most notably Heinrich Schütz—though polychoral works were also composed elsewhere, such as the many masses written in Spain by Tomás Luis de Victoria. After 1603, a basso continuo was added to the already considerable forces at San Marco—orchestra, soloists, choir—a further step toward the Baroque cantata. Music at San Marco went through a period of growth and decline, but the fame of the institution spread far. Although the repertoire eventually included music in the concertato style, as well as the conservative stile antico, works in the polychoral style maintained a secure place in the San Marco repertoire into the 1800s. Representative seventeenth-century composers Adrian Willaert Cipriano de Rore Gioseffo Zarlino Claudio Merulo Giovanni Gabrieli Andrea Gabrieli Claudio Monteverdi Hans Leo Hassler Heinrich Schütz Francesco Cavalli Examples of the style Adrian Willaert, Salmi spezzati Andrea Gabrieli, Psalmi Davidici Andrea and Giovanni Gabrieli, Symphoniae sacrae In Ecclesiis Sonata pian' e forte Heinrich Schütz, Psalmen Davids (1619) Claudio Monteverdi, "Zefiro torna" ("Return, O Zephyr") See also Venetian School References "Venice", "cori spezzati," in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd., 1980. (Note: curiously, there is no article for "polychoral" or "polychoral style" in the New Grove.) Carver, Anthony F, The development of sacred polychoral music to the time of Schütz. Cambridge (Cambridgeshire); New York: Cambridge University Press, 1988. Gustave Reese, Music in the Renaissance. New York, W.W. Norton & Co., 1954. Manfred Bukofzer, Music in the Baroque Era. New York, W.W. Norton & Co., 1947. The New Harvard Dictionary