In his own time, Giovanni Paolo Cima (c.1570-c.1626) was considered one of the great composers of counterpoint, in a league with Monteverdi and Merulo. He had a long-term influence on the stylistic transformation which took place between the Renaissance and the Early Baroque periods. His predilection for sacred music, however, was apparently the cause of his later neglect. His Concerti ecclesiastici appeared in 1610; this is an extensive collection of sacred vocal music for the most varied liturgical application, supplemented by several instrumental works. Most of the motets have just a few parts, as was typical of the "modern" monodic style that developed during this period. In addition, there are also pieces for larger ensembles such as, for example, the eight-part Assumpta est Maria, especially interesting due to its echo and dialogue structure. Moreover, the collection contains the earliest preserved solo and trio sonatas, revealing Cima as a pioneer in the area of instrumental music. Daniela Dolci and Musica Fiorita have put together a Vespro della Beata Virgine from this material – modelled after the famous Maria Vespers of his contemporary Monteverdi which, interestingly, also appeared in the year 1610. It shows that the development of the new seconda prattica was not the sole invention of Monteverdi, but a trend of the period in which Cima's music definitely bears comparison with his famous contemporary.