Ascanio Trombetti’s six-part motet Diligam te Domine offers a glimpse into the expressive polyphony of late Renaissance Bologna. Trombetti, baptized in 1544 and active as a wind player and composer, belonged to a family renowned for their instrumental skill—hence the surname “Trombetti.” Though his surviving works are few, they reflect a refined contrapuntal sensibility shaped by both sacred and secular traditions. His life ended in scandal: he was murdered in 1590 by the husband of his lover.

The motet sets verses 2–3a of Psalm 17 (Vulgate): Diligam te, Domine, fortitudo mea. Dominus firmamentum meum et refugium meum et liberator meus. The voicing in this edition—TBBBGbCb—was inspired by a recording from The Royal Wind Music, a magnificent recorder ensemble from the Netherlands. Their deep sonority suggested a way to balance clarity and warmth, yielding a contemplative, resonant character.

This edition is presented in barless format, as originally composed. Playing from barless parts—not to invoke authenticity, but to foster ensemble connection—is what I feel is the first step toward experiencing the beauty of Renaissance polyphony. The simplest approach for the leader is to conduct in two, with each player counting each beat (down and up) as a half note. For further discussion of this and related topics, see my July 2025 ARS-NOVA article, How To Play Barless Renaissance Music.