Almost all of Victoria's surviving compositions were published during his lifetime. The four-part Ave Maria, one of his motets, is generally attributed to Victoria. However, its precise source remains unknown, although Pedrell first published the piece in 1913.
Victoria's compositional output includes several Marian motets such as Ave maris stella, Ne timeas, Maria, and Sancta Maria, succurre miseris. These works were first published in 1572 and reprinted in subsequent years. In his compositions, Victoria displayed a particular expressiveness and harmonic distinctiveness that differs from Palestrina's style.
The six-part motet Vidi speciosam was published several times between 1572 and 1603. It is based on a liturgical text from the Song of Songs and is connected with the Assumption of Mary. The combination of different voices and luminous timbres makes this piece particularly noteworthy.
The Missa ... liber secundus of 1592 contains a Mass based on Vidi speciosam. It was composed with the same meticulous care and homophony as the motet that inspired it. To achieve a cohesive structure, Victoria incorporated motifs and passages from Vidi speciosam into various sections of the Mass.
Performances of the Mass clearly demonstrate how Victoria integrated motet music into the liturgical framework. In different sections, such as the Kyrie, Gloria, Credo, Sanctus, and Agnus Dei, he employed characteristic motivic variations to create a connection between the motet and the Mass.
In the late Renaissance, organ accompaniment was common in performances, particularly in Spain. This tradition illustrates how Victoria's music was characterized by both consistency and variety. The diverse approaches to interpreting such works demonstrate that musical authenticity should be open to different interpretations.