In 1593 Toledo Cathedral hired him as maestro de capilla; he remained there until 1594, when he returned to Seville. Lobo's music combines the smooth contrapuntal technique of Palestrina with the sombre intensity of Victoria. Some of his music also uses polychoral techniques, which were common in Italy around 1600, though Lobo never used more than two choirs (contemporary choral music of the Venetian school often used many more — the Gabrielis often wrote for as many choirs as there were choirlofts, in the spacious cathedrals of Venice). Lobo was influential far beyond the borders of his native Spain: in Portugal, and as far away as Mexico, for the next hundred years or more he was considered to be one of the finest Spanish composers. His works include masses and motets, three Passion settings, Lamentations, psalms and hymns, as well as a Miserere for 12 voices (which is lost). No secular or instrumental music by Lobo is known to survive.
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