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In the seventeenth century composers orchestrated liturgical settings with ensembles of string and brass instruments integrating elements of the Latin sacred concerto and the oratorio into music for the Mass and daily Offices. Furthermore, the incorporation of the traditionally secular genre of the sonata into these liturgical genres demonstrates the permeable boundary between the sacred and secular realms of the period. In this paper, I will examine how Salzburg composer Andreas Hofer uses instrumental textures to enhance expressive meaning and foster drama in the inherently un-dramatic genre of Offertory in his printed collection, Ver Sacrum seu Flores, published in 1677. The use of instruments in sacred contexts hearkens back to Venice in the late sixteenth century and has been discussed by scholars such as Stephen Bonta and Eleanor Selfridge-Field, both of whom have written about instrumental ensembles used in Venetian sacred music ca. 1600. 1 Moreover, Massimo Troiano pro

Blending the secular and sacred: instrumental textures in seventeenth-century worship