Pope to purge the Vatican of modern music

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The Pope will have to put his money (our money actually, since Peter’s Pence is a large part of his budget) where his mouth is and commission some new liturgical music for use with vernacular masses. If he doesn’t he’s doomed to whining and hand-wringing over bad liturgical music for the rest of his life. I have asked repeatedly on this forum and no one has been able to provide information on new commissions for liturgical music issued by either local bishops or the congregation for the liturgy at the Vatican. Failing the purchase of competently written plain chant or more modern styles of music for liturgical use, the Vatican and the local churches will have to make do with the less well written works we have in the song books. And all of the complainers on this forum will be doomed to typing their fingers to nubs over it.
Maybe J. R. is looking for a renaisance of his country woman’s music (which was roundly condemned by her bishop at the time… funny how time changes our perception of the quality of music). Oh, I’m sorry. I forgot to mention her name: Hildegard von Bingen. I’m sure all of you have heard modern recordings of some of her many liturgical works for choir.
I’m still looking for a list of commissions from the Vatican. Where is the Church’s support of the arts?

Matthew
Matthew, please accept this in the spirit of fraternal charity.

First of all, you are misinformed about Peter’s Pence. Yes, the monies collected go the Holy Father, but, they are disbursed for charitable purposes only. I know because I have given my contribution directly, through the Vatican website. If there is anyone I trust with my money, it’s Pope Benedict XVI. This money goes to necessities such as natural disaster assistance (he sent funds to assist Katrina victims, along with monies from Cor Unum) and other charitable efforts.

Your references to Pope Benedict seem to be rather flippant. You do not know that perhaps he has already commissioned new liturgical music. Neither you nor I are privvy to what he is contemplating doing with regard to Sacred Music. He moves slowly and deliberately because he’s the one at the helm of this ship. You and I are not. He has already made some definitive statements regarding sacred music. Just read what he says in Sacramentum Caritatis:
Liturgical song
  1. In the ars celebrandi, liturgical song has a pre-eminent place. (126) Saint Augustine rightly says in a famous sermon that “the new man sings a new song. Singing is an expression of joy and, if we consider the matter, an expression of love” (127). The People of God assembled for the liturgy sings the praises of God. In the course of her two-thousand-year history, the Church has created, and still creates, music and songs which represent a rich patrimony of faith and love. This heritage must not be lost. ***Certainly as far as the liturgy is concerned, we cannot say that one song is as good as another. Generic improvisation or the introduction of musical genres which fail to respect the meaning of the liturgy should be avoided. ***As an element of the liturgy, song should be well integrated into the overall celebration (128). Consequently everything – texts, music, execution – ought to correspond to the meaning of the mystery being celebrated, the structure of the rite and the liturgical seasons (129). Finally, while respecting various styles and different and highly praiseworthy traditions, I desire, in accordance with the request advanced by the Synod Fathers, that Gregorian chant be suitably esteemed and employed (130) as the chant proper to the Roman liturgy (131).
He has thrown down the gauntlet. Unfortunately, there are many who are circumventing him and are anxious to maintain the status quo and do not seem to care about the Church’s rich 2,000 years of sacred music.

Regarding the arts, remember that:
Art at the service of the liturgy
  1. The profound connection between beauty and the liturgy should make us attentive to every work of art placed at the service of the celebration. (122) The very nature of a Christian church is defined by the liturgy, which is an assembly of the faithful (ecclesia) who are the living stones of the Church (cf. 1 Pet 2:5).
This same principle holds true for sacred art in general, especially painting and sculpture, where religious iconography should be directed to sacramental mystagogy. Everything related to the Eucharist should be marked by beauty.
The Church supports art; however, art is at the service of the liturgy, not the other way around.
 
I keep saying it: I want to know what music has been commissioned recently by the Pope, local bishops, or the congregation for the liturgy. If the Pope wants me to believe that the Church supports the arts as he has claimed, he’s going to have to show some evidence. I’m not being flippant. I’m serious. If the Vatican wants to be taken seriously, they’re going to have to behave seriously.
The Pope may have thrown down the gauntlet, but as far as I can see it’s a lace glove.

Matthew
 
I keep saying it: I want to know what music has been commissioned recently by the Pope, local bishops, or the congregation for the liturgy. If the Pope wants me to believe that the Church supports the arts as he has claimed, he’s going to have to show some evidence. I’m not being flippant. I’m serious. If the Vatican wants to be taken seriously, they’re going to have to behave seriously.
The Pope may have thrown down the gauntlet, but as far as I can see it’s a lace glove.

Matthew
Drafdog, the Holy Father does not operate on my timetable nor on yours. Neither of us is privvy as to when he is going to do what. As Dragonetti once said (in the film Blade, and this is my paraphrase), “Who are we to challenge the Vatican’s ways?” The Holy Father does not have to show anyone evidence. Why are you so quick to dismiss him? Peter has spoken many times on this issue. Please read Sacramentum Caritatis.

I say this in fraternal charity. Sometimes, your posts seem to exhibit a sense of pride that is most troubling. Please step back, read the documents and please, respect the Holy Father’s authority. He does not bend to anyone’s will, except to Jesus’, as he is His vicar on earth.
 
Can someone enlighten this poor simple systems engineer who makes a living reading and pedantically interpreting technical specifications as to exactly where in this article it says the Pope is purging the Vatican of modern music?

I can see where it says chant is to be the primary music form (primary does not equal sole or exclusive, leastways it didn’t when I did my degree) and I can see where it says a few music directors have or might soon be awarded the Royal Order of the Boot (which I reckon is probably a good thing, I get very tired of folks expecting me to be impressed with spectacularly ordinary choirs just because they are a) all male and b) installed in a famous place) … so the centrality of chant, yep, and purging the Vatican of a few incompetents, yep, but but I’m struggling to make a connection between the headline given here and the article quoted.
 
Can someone enlighten this poor simple systems engineer who makes a living reading and pedantically interpreting technical specifications as to exactly where in this article it says the Pope is purging the Vatican of modern music?

I can see where it says chant is to be the primary music form (primary does not equal sole or exclusive, leastways it didn’t when I did my degree) and I can see where it says a few music directors have or might soon be awarded the Royal Order of the Boot (which I reckon is probably a good thing, I get very tired of folks expecting me to be impressed with spectacularly ordinary choirs just because they are a) all male and b) installed in a famous place) … so the centrality of chant, yep, and purging the Vatican of a few incompetents, yep, but but I’m struggling to make a connection between the headline given here and the article quoted.
You’re right, there is a disconnect between the headline and the article. Now it may be that those choirs that were coming in every week were singing lots of modern music, so ending those choirs would be in effect ending that modern music.

But it should be obvious that what the pope is interested in is not purging modern music but purging bad music, music that does not have the requisite sanctity, true art and universality. It is just a reality of our times that the vast majority of modern music does not possess those qualities to the degree necessary to be worthy of use in the liturgy.
 
I think what also needs to be remember is that there was always “popular” music during each generation throughout the centuries. But, most stylistically popular music was not used for the liturgy. People knew that there was a place for that music and a place for liturgical music. I don’t feel like rewriting what I wrote yesterday on another thread, so here is some of it which would pertain to this subject:

I have nothing against “modern” sacred music, when it is composed well and equal to the genius of the best of our heritage throughout the centuries. There is music out there today which is equal to that. Unfortunately, because it is music of the “now”, we are getting a full-blown bombardment of garbage along with the gems. So, time will tell what will truly stay in the garbage and what will continue on in our sacred music heritage.

There is also good, “modern” music written in secular forms. It’s fine outside of mass, but many are not appropriate for during mass IMO. For centuries there was always secular and popular music in the forms of the time, but was not used for mass. (I collected a bunch of cds which recorded “pop” music from various times and the styles are different from what you would have heard during mass. When something of that sort made it’s way into mass, it was thrown out or severely critiqued to make sure that it was in all ways appropriate. Or genius composers were able to take a popular melody and tone it down so that it lost the secular stylized aspects of the original. It became “higher” in style, not in a condescending way, but the composer was able to lift it closer to the angels by way of his/her abilities. So, there may be some modern religious/sacred music taken from a secular form that could stand the test of time if the composer is talented enough to do what others before him/her has done.
So, I also believe what others have mentioned. It’s not about purging all “modern” music. I think it is more about doing a better job of determining which music is appropriate for mass, as was always done throughout the centuries and which music would be better outside of mass - whether that is music composed in the classical form or another genre. Although we do have some rotten apples that somehow made it throughout the centuries, I think the majority of what we have now is what was considered right and appropriate for all time. This is happening now with today’s liturgical and/or religious music.
 
It is just a reality of our times that the vast majority of modern music does not possess those qualities to the degree necessary to be worthy of use in the liturgy.
It is a reality of any age that only a tiny minority of the music produced therein is “the good oil”. We’ve had time to lose the dross of ages past and we still have our contemporary dross, but I think we’ve had that discussion elsewhere before. [EDIT: I see Sarabande has also referred to same above!]

Personally, I think we still have stuff from the 19th century that doesn’t make the grade in terms of musical quality (including tunes I find rather vulgar and that seem designed to make untrained singers sound like bellowing heifers) but it tends not to stand out because it is couched in familiar harmonic style and rendered by “acceptable” media rather than in modern style and instruments that are relatively new to liturgical use.

Two thumbs up for what the article is actually saying.
 
Where does the belief that the only music suitable for mass was written between 1600 and 1900 come from? What is special about that particular window of musical composition that elevates it above all others? Isn’t it really just subjective judgment?

Having said that, I agree that any music played at mass should be respectful, and in keeping with liturgical requirements. Just hearing a cool song, and deciding to play it at mass just because you like it isn’t right either.
I agree with you competely. I actually PREFER the gregorian chant and I myself am a classical musician. I play in a symphony (or at least, will be soon) and I sing in choirs. However, just because it’s chant doesn’t make it more sacred or appropriate than anything else. There is perfectly good modern music that is holy and uplifting. Has anyone EVER heard a single soprano female voice singing with oboe, strings and piano to the tune “as the deer” during the reception of Holy Communion? It’s heartbreakingly beautiful! I guess this is just a fight that will keep on going and the only ones that suffer are the lay people, no loss right?

Is it any big mystery that the catholic church is freakishly void of 18-30 year olds? :rolleyes:
 
However, just because it’s chant doesn’t make it more sacred or appropriate than anything else.
The Church disagrees with you. She calls chant the supreme model and permanent standard of Catholic sacred music, against which all other music is measured, and most other music fails badly in the measuring.
Is it any big mystery that the catholic church is freakishly void of 18-30 year olds? :rolleyes:
No mystery at all. The aging hippies have driven many of them away by insisting that they can only appreciate shallow “with-it” Catholicism Lite.

You may or may not know that it is the orthodox, traditional religious orders that are filling up with young people. The more “relevant”, untraditional, “spirit of Vatican II” orders have far fewer new members and are becoming geriatric orders. Young people are quite plainly choosing traditional orthodoxy over untraditional “spirit of Vatican II”.
 
The Church disagrees with you. She calls chant the supreme model and permanent standard of Catholic sacred music, against which all other music is measured, and most other music fails badly in the measuring.

No mystery at all. The aging hippies have driven many of them away by insisting that they can only appreciate shallow “with-it” Catholicism Lite.

You may or may not know that it is the orthodox, traditional religious orders that are filling up with young people. The more “relevant”, untraditional, “spirit of Vatican II” orders have far fewer new members and are becoming geriatric orders. Young people are quite plainly choosing traditional orthodoxy over untraditional “spirit of Vatican II”.
I’m afraid I need to disagree. THe music and atmosphere I have seen come from Vatican II has ben a boom in music that…well takes me to a 1970’s nightmare. It’s about s modern to youth as bell bottom pants. Besides, I came from a very modern church (I have to be honest I DO NOT like modern music as much as traditional, but I stand up for it because it does help!) and in this modern church I would say almost 1/4th of them were youth from the catholic church who couldn’t relate. I as a convert am having an impossible time feeling closer to God. I am lost by the music which is obviously aimed at middle age people in an attempt to be modern. It’s not bad, but it’s so one-sided I have no hope at mass anymore. There is no variety. I studied for 4 years to be a music director of a church, and they hammer it in to you that variety is the most essential thing. Every relates to God through different music. Picking only ONE style and sticking to it dogmatically is a sure-fire way to lose a lot of people. Not out of boredom, but out of confusion. Out of LEAVING them behind. That’s why I left the church I was in. It was ALL modern, and I don’t get modern music. I was lost and left behind. Not everyone was, but if there was variety they might have kept me! (I wouldn’t have left to go looking and found the truth of catholicism, so I guessin a way I am glad they dogmatically stuck to modern music)

It has nothing to do with “being hip” but rather giving youth something they can relate to that is familiar. Just as chant is familiar to most catholics. I guarantee you a good portion of young people at mass aren’t even sure why songs are sang. Music is a powerful tool. We can either choose to use it to bless ALL people, or be stingy and demand only what WE like is Holy, and who ever doesn’t get that music, (every music genre is language in and of itself) well they must not be holy enough, or they are seeking to be “entertained”. The funny thing is, of the catholic youth I saw that left the catholic church for a modern church, that’s how they felt the adults were. They were seeking to be amused with music THEY liked. It almost never had anything to do with beliefs. They were confused, left in the dust, and felt outcast. I am not saying all masses must be modern. I am saying there should be variety. Say a saturday night mass is your modern mass with guitars and keys, and your sunday AM is chant. It’s like what Whoopie Goldberg said in Sister Act:

“I was thinking, ‘More butts in the seat’.”
 
I have a question for those who claim that variety is the key. This is something no one has ever been able to answer me:

Why was it OK to use Gregorian Chant and other traditional music of the Church (well, mainly polyphony and monophony) for nearly 2000 years, but it’s all of the sudden an issue and it needs changing? Why is it almost unthinkable not to use traditional music in the Eastern Churches TODAY but it is an issue for us in the West?

I feel that there is something wrong with the world it cannot appreciate music and tradition which all of their ancestors, saints, doctors of the Church and or eastern neighbors appreciated so much? As if we suddenly need to bring rock music and other forms of strictly secular music else the liturgy which should symbolize heaven and not the secular world.

Let me guess, does it have anything to do with the fact that rock music is cool and the idea that liturgy should be entertaining and lively? You know, like going to a concert while fulfilling our Sunday duty? I’m not saying that all people who like modern music in mass are like that, but I think there is a connection.

Plus this is not how I imagine Jesus in heaven with his angles and saints! Especially if the image includes Shine, Jesus shine! 😃

http://img145.imageshack.us/img145/7135/qqid4.jpg
 
Delphinus85, you talk about giving young people music they can “relate to”. What exactly do you mean by that, and why is it important?
 
It is a reality of any age that only a tiny minority of the music produced therein is “the good oil”. We’ve had time to lose the dross of ages past and we still have our contemporary dross, but I think we’ve had that discussion elsewhere before. [EDIT: I see Sarabande has also referred to same above!]
This is true, but it doesn’t even begin to address the real and substantial differences between our age and past ages. Are you really suggesting that there will be dozens, even hundreds of pieces of sacred music from the past 50-100 years that will be considered small or large masterpieces 500 years from now? Because that is true of the Renaissance and Baroque eras, and it is true of the Medieval and pre-Medieval chants.

Can you name for me 20 pieces of modern Catholic music, widely used today, that will be condsidered small or large masterpieces 500 years from now?
Personally, I think we still have stuff from the 19th century that doesn’t make the grade in terms of musical quality (including tunes I find rather vulgar and that seem designed to make untrained singers sound like bellowing heifers) but it tends not to stand out because it is couched in familiar harmonic style and rendered by “acceptable” media rather than in modern style and instruments that are relatively new to liturgical use.
Two thumbs up for what the article is actually saying.
I agree, the 19th century was not by any means a golden age of Catholic liturgical music. That’s why Pope Piux X felt the need to come out with his instruction Tra le Sollecitudini in 1903, to correct the problems that built up during the 19th century.
 
I try to focus on God all day long. I have no division in my life, between secular and sacred, because in my life everything is Sacred, or serves a purpose to unite me with the Sacred, or it’s out.

I understand that certain songs don’t fit in the MASS - example, Aaron Shust’s My Savior My God. But others do, and I don’t understand why one type of music is considered less Sacred than another - isn’t the MASS primarily about worshipping God through moving our hearts, our souls, our wills into communion with God?

and if some types of music help some types of person to achieve this state of communion better - to order their passions towards the Eucharist along with their wills - then who are we to deny them?
If “everything is sacred” then most likely nothing is sacred because sacred things are set apart to be used for God. Now, it is possible that one could live a life largely in the realm of the sacred, but even monks don’t do it entirely. If there is no profane from which to distinguish the sacred, you might be over-sacralizing your dinner plates or your time in the bathroom.

I thought that was important because if all genres are sacred then none of them are. If a genre is ubiquitous and used in a large variety of settings, it seems rather unlikely that it has been dedicated solely to divine worship.

Lastly, the Mass is primarily about re-presenting the sacrifice of Christ to the Father. The music enables us to enter into this more deeply, but if it begins with the passions it will most likely be shallow. Cdl. Ratzinger described sacred music as creating a sort of “sober inebriation” in order to distinguish it from music that plays primarily upon the passions. Passions are certainly not excluded from worship, but worship begins with the mind and will, by the very nature of human action.
Failing the purchase of competently written plain chant or more modern styles of music for liturgical use, the Vatican and the local churches will have to make do with the less well written works we have in the song books.
Certainly we should continue to foster the arts, but did I miss the Stalinist purge in which every worthwhile piece of sacred music from the last two millenia was purged from the face of the earth? There exists plenty of good music, so while we’re waiting on new pieces we have lots of material to get us by.

As a general comment, Delphinus85 expressed a concern with having something for everyone, which I think bears closer examination. As other posters have already explained, the Church herself holds up chant as the gold standard by which all other sacred music must be judged, and then after that seems to hold out sacred polyphony as the next best thing. So the permission to use other music should always be read against the backdrop that this music is deemed better the more closely it approximates the gold standard.

But since other music is allowed, what are we to do with it? I would submit that we should understand it as a matter of accomodation to weakness - we know the Church deems it less worthy of the liturgy the more it departs from chant, so if we’re going to use different genres we should be honest and acknowledge that a) the music is not as fitting but b) we think circumstances warrant using sub-par music for a time in order to achieve growth for more people. Now, at that point you would have to do some fancy footwork to convince me that giving people lower quality goods actually will help bring them along, but I can at least accept the general metaphor of milk and meat given us by St. Paul. Saying all the genres are equally appropriate, on the other hand, flatly contradicts what the Church has taught throughout the centuries, including at Vatican II.
 
This is true, but it doesn’t even begin to address the real and substantial differences between our age and past ages. Are you really suggesting that there will be dozens, even hundreds of pieces of sacred music from the past 50-100 years that will be considered small or large masterpieces 500 years from now? Because that is true of the Renaissance and Baroque eras, and it is true of the Medieval and pre-Medieval chants.

Can you name for me 20 pieces of modern Catholic music, widely used today, that will be considered small or large masterpieces 500 years from now?
Where did I suggest, “really” or otherwise, anything other than a general point, VociMike? Be there 1, 20 or 20,000 great modern pieces around, whatever the quantity, it/they are at present still mixed up with the rest of it that will die off over time.

I am not the person to ask this question, in any case, as there is a lot out there I don’t know about and haven’t seen/read/evaluated for myself. I do not get out as much as I would like, literally or figuratively.

This is, however, becoming a different topic.

My point is that to read, “Pope raising musical standards in the Vatican” and to interpret that as, “Pope purging Vatican of modern music” is to inject one’s own “hot button” into the article (especially as, I’m assuming, the Vatican is probably not exactly a hot bed of modern music to start with, in order for it to be purged, making it even less likely that that’s what the article’s really about).

It’s only sample of one but I do know a choir that went to the Vatican every two years as a regular thing and there was very little modern music in their repertoire. What little there was, was traditional in style, and they had a very competent organist as their sole accompaniment.

I happily admit that one of my “hot buttons” is the fact that appalling and ignorant performances of “traditional” and early music are regarded as perfecty acceptable in so many places. Music in liturgy comprises the composition AND the performance. Brilliant composition + rubbish rendition = bad music. In this context, I’m not interested in hearing that bad composition + bad performance = worse music, as that is irrelevant to the point, just as the fact that I might be dying of cancer doesn’t make your toothache hurt any less, if you see the analogy: you still have a toothache, and it hurts. Some folks seem to think that any old performance is fine as long as it’s good music on paper and translated into noise by acceptable media - no matter whether the choir and organist mangle it, emasculate it or perform it in a completely inappropriate style … so it does catch my attention when someone seems to think that raising standards can only mean purging modern music. The quality of a musician’s source material should never get him/her let off the hook for bad musicianship, and I see that happening in plenty of places and hear it in any number of choir and organ recordings I’m supposed to be impressed by.

Yes, some places have bad source material and bad musicians, hence bad music - those places have two problems to fix. A place with good source material and bad musicians also has bad music and a problem to be fixed. The fact that the first kind of place is worse off doesn’t change that fact and doesn’t mean that good material magically turns poor musicians into good ones.
 
What wonderful words. But again, as I have posted in the past, these are just words. When I actually see things happen, I will begin rejoicing. I must say, the removal of Archbishop Marini was a very good step in the right direction. With all due respect to His Excellency, he was the most destructive force in the Catholic Church since his mentor. Lex orandi, lex credendi. We believe how we pray. Marini brought us a liturgy that was created; that didn’t grow organically from it’s precedessor. Hardly what the Second Vatican Council called for. I mean no disrespect, but one only needs to look at the Papal Ceremonies in the past few weeks to see the difference.

To fix music in the Latin Church, if Benedict wants results, he will need to issue orders as soon as possible and order the bishops to enforce them. If bishops refuse to enforce the orders, they must be transfered to paper-pushing jobs and be replaced by bishops who are orthodox and obedient. Expect parishioners to leave. But, “pruned, it will grow again”. Those who leave have deeper theological issues stemming from the failed Religious Education program in the Latin Church, which is another problem that needs to be rectified as soon as possible.

Forgive me for being pessimistic, but it’s just hard to stay positive sometimes…after all these years of terror.

Adam
 
Where does the belief that the only music suitable for mass was written between 1600 and 1900 come from? What is special about that particular window of musical composition that elevates it above all others? Isn’t it really just subjective judgment?

Having said that, I agree that any music played at mass should be respectful, and in keeping with liturgical requirements. Just hearing a cool song, and deciding to play it at mass just because you like it isn’t right either.
May I point out that the best music did not come between 1600 and 1900. In fact, due to the opulence of the Baroque period, the symphonic nature of the Classical period and the Art-Song focused composers of the Romantic period, 1600-1900 was pretty much a wasteland. Granted, there EARLY 1600’s yielded the likes of Monteverdi, we didn’t get started again until the 20th century, with very few exceptions.

The vast majority of Catholic music came to us in the papacy of Gregory the Great. It calmed down in the late 16th century. So, you assertion that we think that all the good music came between 1600-1900 is absolutely ridiculous. You are most welcome to have your own opinion, but be prepared to defend it.

Adam
 
Delphinus85, you talk about giving young people music they can “relate to”. What exactly do you mean by that, and why is it important?
I think if we would teach young people properly, explain why we teach what we teach, and let them experience the beauty and reverence of the Mass they won’t need upbeat modern music to “relate to” so we can keep them in the Church and not stray.

The important thing is giving kids better catechsis(sp) so they can better understand and know God and want to be near Him. Not entertaining them. Thats what Protestants do because they have nothing else. Catholics have the fullness of Truth, we don’t need the frills and entertainment value.
 
What wonderful words. But again, as I have posted in the past, these are just words. When I actually see things happen, I will begin rejoicing. I must say, the removal of Archbishop Marini was a very good step in the right direction. With all due respect to His Excellency, he was the most destructive force in the Catholic Church since his mentor. Lex orandi, lex credendi. We believe how we pray. Marini brought us a liturgy that was created; that didn’t grow organically from it’s precedessor. Hardly what the Second Vatican Council called for. I mean no disrespect, but one only needs to look at the Papal Ceremonies in the past few weeks to see the difference.

To fix music in the Latin Church, if Benedict wants results, he will need to issue orders as soon as possible and order the bishops to enforce them. If bishops refuse to enforce the orders, they must be transfered to paper-pushing jobs and be replaced by bishops who are orthodox and obedient. Expect parishioners to leave. But, “pruned, it will grow again”. Those who leave have deeper theological issues stemming from the failed Religious Education program in the Latin Church, which is another problem that needs to be rectified as soon as possible.

Forgive me for being pessimistic, but it’s just hard to stay positive sometimes…after all these years of terror.

Adam
Hit the nail on the head. 👍
 
May I point out that the best music did not come between 1600 and 1900. In fact, due to the opulence of the Baroque period, the symphonic nature of the Classical period and the Art-Song focused composers of the Romantic period, 1600-1900 was pretty much a wasteland. Granted, there EARLY 1600’s yielded the likes of Monteverdi, we didn’t get started again until the 20th century, with very few exceptions.
In some respects that may be true, and there is no argument that we had wonderful compositions prior to 1600. But let’s not forget choral motets (a capella or with organ), other sacred works and organ works composed by Bruckner (his sacred a capella motets), Mozart (many beautiful choral motets, Bach (yes he was a Lutheran, but he did compose appropriate motets and other sacred music for organ), William Byrd (although he composed within the cusp of the latter part of the 1500s and early part of the 1600s), Vivaldi, Caldara, Pergolesi, Ugolini, Allegri (His Miserere especially), Couperin, Charpentier, Frescobaldi, and as you mentioned, Monteverdi. These are just some I can name off the top of my head.

Then we can’t forget the golden age of French organ and sacred music in the mid to late 1800s - Cesar Franck (has some really beautiful sacred works and, no, I’m not talking about his overused, yet lovely, Panis Angelicus), Gabriel Faure (his Ave Maria, Salve Regina, Cantique de Jean Racine, and of course his Requiem. He also composed in the early 20th c) and Louis Vierne to name a few.

So, I wouldn’t necessarily call that time period a wasteland for sacred music.
 
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