This article records tradition as it has been passed down and reported. Its sources are not yet part of the atlas's verified catalogue.
Hashirim Asher LiShlomo did not succeed commercially in Rossi's own lifetime, and after his death, undocumented but placed around the catastrophic 1630 sack of Mantua, the collection largely disappeared from active use. For roughly two centuries its elaborate polyphony sat outside the musical life of the synagogues it had been written for, which had generally kept to simpler, orally transmitted cantorial traditions once Rossi's own experiment was no longer being performed anywhere. A singular achievement went essentially silent.
Its modern recovery began in the nineteenth century, when the cantor and composer Samuel Naumbourg, working in Paris, prepared a new edition of Rossi's settings, bringing the collection back into print and giving later musicians a practical way to encounter it again. Sustained musicological attention followed much later still: Don Harran's definitive scholarly biography and critical study, published by Oxford University Press in 1999, remains the standard modern account of Rossi's life and complete works, and the collection has since become a fixture of early music programming, taken up by ensembles specializing in Renaissance and early Baroque repertoire.
The gap in the record is itself part of the story this atlas can tell honestly rather than smooth over: a first of its kind, publicly defended on halakhic grounds at the moment of its printing, still needed a rabbi's ruling behind it to be performed at all, sold poorly, and was largely unheard for two hundred years before scholarship and recorded performance gave it a second life it never had in Rossi's own Mantua.