The music of the 17th century composer Duarte Lobo still exudes the atmosphere of Giovanni Pierluigi da Palestrina. The Portuguese Renaissance was later than in other European countries: it came when Italy was already well into the Baroque. It was thanks to the famous Antwerp publisher Plantijn that Lobo’s work was distributed all over Europe. He went down a storm in Lisbon, where he worked as Kapellmeister at the cathedral, one of the most important centres of music in the country at the time. Lobo’s music excels in its masterly command of traditional counterpoint and a refined expression of the text. His eight-part requiem mass, Missa Pro Defunctis, with two choirs in some sections, is one of the crown jewels of Portuguese music history.