In the realm of sacred music, the desire of the Medici for opulence was no less. Instead of decorating plays with madrigals interspersed between the acts, however, the Medici's court composer – who was Striggio by the 1560s – chose to create works for larger groups of voices than had been attempted before, and to accompany these already massive vocal forces with instruments. His first attempt was apparently the "Missa sopra Ecco sì beato giorno", and some time later he followed this with a 40-voice motet setting, "Ecce beatam lucem", a piece which has long been known. Some other gigantic polychoral works from the same time include Thomas Tallis's famous and often-performed "Spem in alium nunquam habui", for 40 voices, which may have been a response to hearing either the motet or the Mass in 1567; Stefano Rossetto's 50-voice motet "Consolamini popule meus"; and Cristofano Malvezzi's 30-voice intermedio for another Medici marriage, "O fortunato giorno". Both Rossetto and Malvezzi were associated with the Medici court. Preceding these works was a 40-voice motet produced in Munich in 1564 by Orlande de Lassus, which has been lost.