This article records tradition as it has been passed down and reported. Its sources are not yet part of the atlas's verified catalogue.
Salomone Rossi continued composing for his own Jewish community throughout his four decades at the Gonzaga court, work that culminated in his 1622 or 1623 publication of Hashirim Asher LiShlomo, the earliest known published collection of polyphonic settings of Hebrew liturgical texts. The publication stands apart from his roughly one hundred fifty secular madrigals and instrumental works, a distinct body of religious composition set beside his court career rather than replacing it.
That Rossi produced the first published polyphonic settings of Hebrew liturgical texts while also serving four decades as a court musician working alongside Monteverdi marks his career as running two distinct musical lines side by side, the secular madrigals and instrumental music his court position required and the liturgical settings his own community's worship called for.
Mantua's duke had already excused Rossi from the yellow badge required of the city's Jews, a mark of his standing at court, and Hashirim Asher LiShlomo shows that standing did not come at the cost of his own religious musical practice, a court musician's documented publication of the earliest known Hebrew polyphonic liturgical settings alongside a full career of secular composition for the Gonzaga establishment.