In Primo Nocturno:
Responsorium I:
Omnes amici mei
Responsorium II:
Velum templi scissum est
Responsorium III:
Vinea mea electa

In Secundo Nocturno:
Responsorium IV:
Tamquam ad latronem existis
Responsorium V:
Tenebrae factae sunt
Responsorium VI:
Animam meam dilectam tradidi

In Tertio Nocturno:
Responsorium VII:
Tradiderunt me
Responsorium VIII:
Jesum tradidit impius
Responsorium IX:
Caligaverunt oculi mei

In the latter half of the 18th century, the Portuguese court saw the emergence of distinctive instrumental practices within its sacred repertoire. Among these innovations were works composed for Holy Week that featured concertante violas but conspicuously omitted violins. This unusual instrumentation became a hallmark not only of daily court music but also of Portuguese music as a whole. This tradition likely reflects the profound influence of Neapolitan music in Portugal, aligning with a broader practice of incorporating solo bass instruments to enhance the solemnity of liturgical occasions, such as Holy Week and All Souls' Day. One of the most notable composers of the Patriarchal Chapel to embrace this style was José Joaquim dos Santos. Born in Óbidos in 1747, he entered the Patriarchal Seminary in 1754, studying under the renowned Neapolitan composer David Perez. By 1763, Santos had joined the seminary's teaching staff, where he remained a central figure until his death in 1801. His work exemplifies the rich interplay of local tradition and Neapolitan influence.