Original sentence: In the Baroque era: Vivaldi, Monteverdi, Charpentier, Zumaya, Bach.In the Romantic period: Schubert, Gounod, Brahms, Rheinberger, Bruckner.It was at one time a popular tolerated licence to replace at a Solemn Mass the second half of the Sanctus (the Benedictus) with hymns such as the O Salutaris Hostia, or, at requiems, with a musical setting of the final invocation of the Dies Irae: "Pie Jesu Domine, dona eis requiem.While some of the later compositions (especially those of the Classical Period and later, which contained many licences such as 'telescoping' parts or all of the texts of the Gloria or Credo, or employing musical themes from secular music) are seen by many as entertainment rather than aids to religious devotion, music recently composed for the vernacular translations of the same texts is not considered to have yet reached an even remotely corresponding standard of excellence
Edited sentence: In the Baroque era: Vivaldi, Monteverdi, Charpentier, Zumaya.In the Romantic period: Schubert, Gounod, Brahms, Rheinberger.It was at one time a popular tolerated abuse to replace at a Solemn Mass the second half of the Sanctus (the Benedictus) with hymns such as the O Salutaris Hostia, or, at requiems, with a musical setting of the final invocation of the Dies Irae: "Pie Jesu Domine, dona eis requiem.While some of the later compositions (especially those of the Classical Period and later, which contained many abuses such as 'telescoping' parts or all of the texts of the Gloria or Credo, or employing musical themes from secular music) are seen by many as entertainment rather than aids to religious devotion, music recently composed for the vernacular translations of the same texts is not considered to have yet reached an even remotely corresponding standard of excellence