Style
Most of Porta's output is sacred music, especially motets. He published at least eight books of motets, one of which is lost, as well as books of masses, introits, and a huge cycle of hymns for Vespers.
Porta's music is even more polyphonic than that of Gombert, and he showed a liking for academic, even severe contrapuntal devices, although they are used so skillfully that the text can always be clearly understood. Often his music uses strict canons; one motet from his book of 52 motets from 1580, in seven voices, has no less than four of the voices entirely derived canonically. Another motet from this same book is a mensuration canon, that most difficult of all contrapuntal forms to carry off. While many composers were reacting to 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.
Read more about this topic: Costanzo Porta
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