Palestrina’s works were published steadily throughout his lifetime, and continued to be printed and reissued in the years following his death. His secular madrigals (over which he once expressed shame in a preface to a later edition of motets) were also financially successful, three of which nevertheless provided the basis for his Masses. The year 1570 saw the publication of his third book of Masses (the second book contains ‘Missa Papae Marcelli’) in which is included his ever-popular ‘Missa brevis’. This is one of a handful of Masses that have no discernible basis on any preexisting material, and it was once thought to be so named since the Kyrie opens with an unaccompanied breve or ‘brevis’. Its brevity as a setting makes it a model of the embodiment of Tridentine ideals, with its intelligibility of text and economy of movement. And since its title is devoid of any association with e.g. a particular feast day or season, ‘Missa brevis’ is suitable for any point in the year.