Monteverdi's sacred music exhibits greater diversity than is often assumed. During his time at the court of Mantua, he primarily composed madrigals and operas. However, it is possible that he also created sacred works for smaller chapels. His 1610 publication could be seen as an attempt to establish himself as a composer of sacred music. This collection included a Mass in the style of Palestrina, as well as psalms, hymns, and motets for Vespers. The performance in Rome in 1611 received mixed reviews.
After the death of the Duke of Mantua, Monteverdi lost his position in 1612. He searched for a new post for several years until he became cantor in Venice in 1613. In the Doge's Chapel of San Marco, music was central to both religious and state life. Monteverdi's compositions were important at both state banquets and religious ceremonies. San Marco was governed by strict musical regulations regarding various ensembles and instrumentation.
After the death of the Duke of Mantua, Monteverdi lost his position in 1612. A large portion of Monteverdi's sacred compositions has not survived. Among the extant works, two collections are particularly well-known: the "Selva morale e spirituale" and the "Messa a quattro voci et salmi." His works range from conservative to modern styles. In his motets and masses, Monteverdi developed impressive compositional forms from simple basic ideas. Even in his later years, he continued his experimental approach.
Monteverdi's sacred works, including motets, psalm settings, and duets, can be found in various anthologies and publications. His music combined majestic invocations of the Virgin Mary with diverse musical forms and styles. Monteverdi's sacred compositions testify to his masterful and experimental approach to religious music.