The “everyday” music of the cathedrals would be reduced to a minimum thanks to the resources established in the Concordat of 1851 signed between Pope Pius IX and Queen Elizabeth II. Hence, the drastic mutilation of the stable staffs in the cathedrals favoured what would quickly become a common and frequent practice, i.e. the ex profeso hiring of instrumental and vocal troops for certain solemnities and festivities, among which those related to Holy Week and its natural period of spiritual preparation, namely Lent, were particularly noteworthy. Moreover, since a prerequisite to fill some of the few music posts allowed by the concordat was the candidate’s clerical status, many aspiring secular musicians saw their chances of finding a stable professional occupation in a cathedral cut short. On the other hand, the phenomenon just described favoured a type of repertoire in which the presence of an orchestra with large timbral forces was one of the most distinctive features of this practice. This gave rise to splendid musical evenings in which, based on sacred texts and with a large number of vocal and instrumental performers, works of an open lyrical character were premiered. These works took place in churches in connection with the Lenten services of the city’s penitential brotherhoods.