Companion to the Missal C: Common of Saints and Kyriale.

Image: The miracle of the Mass of St. Gregory.  Pope Gregory I kneeling at altar, before the image of Christ appearing above the chalice. (The story of this miracle appears, among other places, in The Golden Legend.)  That the celebrant is wearing a tiara would appear to be an indication that this is Pope Gregory, rather than that the tiara would actually be worn during the consecration. Compare the image in the Sarum Book of Hours known as “Queen Mary’s Psalter”, where an attending cardinal holds the tiara.
Two instruments of the passion are also represented, being held by angels.  Another notable feature of this image is the small figures presumably of the Virgin and St. John the Apostle, as is typically found on Rood Screens.

Vigil of One Apostle or Evangelist

Offic. Ego autem sicut oliva fructifera

Prayer. Quesumus omnipotens Deus : ut nostra devotio
The Roman Missal (1543) has ‘Da quesumus omnipotens Deus : ut beati N.’.

Grad. Justus ut palma

Offer. Gloria et honore

Secret. Accepta sit tibi Domine nostre devotionis
This Secret also appears in the York, Westminster and Ambrosian Missals.
The Roman Missal (1543) has ‘Apostolice reverentie culminis’

Comm. Magna est gloria ejus

Postcomm. Presta nobis eterne largitor
This Poscommunion also appears in the York Missal.
The Ambrosian Postcommunion is related: Presta quesumus omnipotens Deus : ejus nos oratione ubique protege . . . ‘
The Roman Missal (1543) has ‘Sancti apostoli tui N. quesumus’.

On the Day of One Apostle
Officium. Michi autem nimis honorati sunt

Prayer. Exaudi Domine populum tuum

Gradual. Nimis honorati sunt

Gradual. In omnem terram exivit

Gradual. Constitues eos principes

Alleluya. Nimis honorati sunt

Alleluya. In omnem terram

Alleluya. Per manus autem apostolorum

Alleluya. Non vos me elegistis

Tract. Beatus vir qui timet Dominum

Sequence. Clare Sanctorum
Attr. Notker of St. Gall.
Trans. © 2015 by Matthew Carver. Used with permission.

Sequence. Alleluya nunc decantet

The York Use has the sequence ‘Clare sanctorum’.

Offertory. In omnem terram exivit sonus

Offertory. Constitues eos principes

Offertory. Michi autem nimis honorificati sunt

Secret. Beati apostoli tui

Communion. Vos qui secuti estis me

Postcommunion. Tuere nos misericors Deus

The Birthday of One Evangelist

Officium. Os justi meditabitur

Prayer. Interveniat pro nobis

Gradual. Os justi meditabitur

Alleluya. Primus ad Syon dicet

[No Tract appears, as no Feast of an Evangelist falls between Septuagesima and Easter.]

Sequence. Laus devota
Trans. in Hymn Melodies for the Whole Year (The Plainsong and Medieval Music Society, 1896): xv.

The York Use has the sequence ‘Plausu chorus’.

Offertory. Posuisti Domine in capite eus

Secret. Donis celestibus da nobis

Magna est gloria ejus

Postcommunion. Presta quesumus omnipotens Deus

On the Birthday of One Martyr

Officium. Justus ut palma

Officium. Justus non conturbabitur.

Officium. Gloria et honore.

Officium. In virtute tua

Officium. Letabitur justus in Domino

Officium. Protexisti me Deus

Prayer. Adsto Domine supplicationibus nostris

Gradual. Posuisti Domine super caput ejus

Gradual. Beatus vir qui timet Dominum

Gradual. Justus non conturbabitur

Gradual. Justus ut palma florebit

Alleluya. Posuisti Domine super caput

Alleluya. Justus ut palma

Alleluya. Letabitur justus
This melody is also used for ‘Alleluya. Caro mea’ at Corpus Christi, ‘Alleluya. Levita Laurentius’ for the Feast of St. Lawrence, and ‘Alleluya. Concussum est’ for the Feast of St. Michael.

Alleluya. Iste sanctus digne

Alleluya. Beatus vir qui suffert

Alleluya. Beatus vir qui timet

Alleluya. Gloria et honore

Alleluya. Justus non conturbabitur

Sequence. Organicis canamus

The Hereford and York Uses have the sequence ‘Ecce pulchra’.

Tract. Desiderium anime ejus

Offertory. In virtute tua

Offertory. Posuisti Domine in capite ejus

[Offertory. Justus ut palma]

Offertory. Confitebuntur celi

Offertory. Gloria et honore

Secret. Presentia munera Domine

Communion. Qui vult venire post me

Communion. Qui michi ministrat

Communion. Posuisti Domine in capite ejus

Communion. Letabitur justus in Domino

Communion. Ego sum vitis vera

Communion. Magna est gloria ejus

Postcommunion. Quos refecti Domine celesti mysterio

Common of One Martyr and Bishop

Prayer. Deus qui sanctam nobis hujus diei

Secret. INtende propicius quesumus Domine

Postcommunion. Sumpsimus Domine in sancti martyris

On the Birthday of Many Martyrs

Officium. Intret in conspectu tuo

Officium. Clamaverunt justi

Officium. Timete Dominum

Officium. Justi epulentur

Officium. Sapientiam sanctorum

Officium. Salus autem justorum

Officium. Judicant sancti gentes

Officium. Sancti tui Domine

Prayer. Omnipotens sempiterne Deus da nobis

Prayer. Omnipotens sempiterne Deus : quod in sanctorum martyrum

Gradual. Gloriosus Deus in sanctis

Gradual. Clamaverunt justi

Gradual. Timete Dominum

Gradual. Justorum anime

Gradual. Exultabant sancti in gloria

Gradual. Vindica Domine

Gradual. Ecce quam bonum

Gradual. Anima nostra

Alleluya. Sancti tui Domine benedicent te

Alleluya. Sancti tui Domine florebunt

Alleluya. Sancti et justi

Alleluya. Vox exultationis

Alleluya. Justi epulentur

Alleluya. Reddet Deus mercedem

Alleluya. Mirabilis Dominus noster

Alleluya. Te martyrum candidatus

Tract. Qui seminant in lachrymis

Sequence. Ecce pulchra canorum

Sequence. Mirabilis Deus in sanctis
Trans. in Hymn Melodies for the Whole Year (the Plainsong and Medieval Music Society, 1896): xvii.

Offertory. Mirabilis Deus in sanctis suis

Offertory. Gloriabuntur in te

Offertory. Letamini in Domino

Offertory. Exultabunt sancti in gloria

Offertory. Anima nostra sicut passer

Offertory. Confitebuntur celi

Secret. Suscipe quesumus Domine munera populi tui

Secret. Sanctorum martyrum tuorum atque pontificum

Communion. Gaudete justi in Domino

Communion. Multitudo languentium

Communion. Posuerunt mortalia

Communion. Justorum anime in manu Dei sunt

Communion. Ego vos elegi

Communion. Et si coram hominibus

Communion. Anima nostra sicut passer

Communion. Quod dico vobis

Communion. Amen dico vobis quod uni

Postcommunion. Sacramentorum tuorum Domine

Postcommunion. Deus qui nost sacramenti tui

Another Mass for Many Martyrs not Bishops

Prayer. Deus qui nos concedis sanctorum martyrum tuorum

Secret. Munera tibi Domine

Postcommunion. Presta nobis quesumus Domine intercedentibus

On the Birthday of One Confessor

Officium. Statuit ei Dominus

Officium. Sacerdotes tui Domine

Officium. Sacerdotes Dei

Prayer. Omnipotens sempiterne Deus qui nos beati N.

Prayer. Da quesumus omnipotens Deus ut beati N.

Gradual. Ecce sacerdos magnus

Gradual. Juravit Dominus

Gradual. Inveni David servum meum

Gradual. Domine prevenisti eum

Alleluya. Justus germinabit

Alleluya. Inveni David servum meum

Alleluya. Amavit eum Dominus

Alleluya. Disposui testamentum

Alleluya. Elegit Dominus sibi

Tract. Beatus vir qui timet Dominum

Sequence. Adest nobis dies alma

Sequence. Alma cohors una laudum

Offertory. Veritas mea

Offertory. Inveni David servum meum

Secret. Propiciare quesumus Domine supplicationibus nostris

Secret. Respice queumus Domine munera populi tui

Communion. Domine quinque talenta

Communion. Beeatus servus quem cum venerit

Communion. Fidelis servus

Postcommunion. Presta quesumus Domine Deus noster ut divinis

Postcommunion. Quos tuis Domine reficis

On the Birthday of One Confessor and Doctor

Officium. Sacerdotes Dei benedicite

Prayer. Exaudi Domine preces nostras quas in sancti N.

Gradual. Juravit Dominus

Alleluya. Amavit eum Dominus

Secret. Munera quesumus Domine tibi dicata sanctifica

Postcommunion. Presta quesumus omnipotens Deus ut de percepis muneribus

On the Birthday of One Confessor and Abbot

Officium. Os justi meditabitur

Prayer. Desu qui beatum N. confessorem tuum.

Gradual. Os justi

Alleluya. Posui adjutorium

Tract. Desiderium anime ejus

Offertory. Desiderium anime ejus

Secret. Sacrificium Domine quod pro sancti N.

Communion. Fidelis servus et prudens

Postcommunion. Libantes Domine sacrosancta mysteria

Mass of Any Confessor

Prayer. Adesto Dojmine precibus nostris

Secret. Suscipe Domine sacrificium placacionis

Postcommunion. Presta quesumus omnipotens Deus ut cujus festivitate

On the Birthday of Many Confessors

Officium. Sacerdotes ejus induant salutare

Prayer. Beatorum confessorum tuorum

Prayer. Deus qui nos sanctorum confessorum

Gradual. Sacerdotes ejus induant salutare

Alleluya. Fulgebunt justi

Offertory. Exultabunt sancit in gloria

Secret. Adesto Domine precibus populi tui

Communion. Ego vos elegi de mundo.

Postcommunion. Fideles tui Deus celestis doni

On the Birthday of One Virgin and Martyr

Officium. Dilexisti justiciam

Officium. Loquebar de testimoniis tuis

Officium. Me expectaverunt

Prayer. Exaudi nos Deus salutaris noster

Gradual. Dilexisti justiciam

Gradual. Specie tua

Gradual. Diffusa est gratia

Alleluya. Emulot enim vos Dei

Alleluya. Veni electa mea

Alleluya. Specie tua

Alleluya. Diffusa est gratia

Alleluya. Hec est viro sapiens

Alleluya. Loquebar de testimoniis

Tract. Diffusa est gratia

Sequence. Exultemus in hac die

Sequence. Virginis venerande

Offertory. Offerentur regi virgines post eam

Offertory. Filie regum

offertory. Offerentur regi virgines proxime ejus

Secret. Hostias Domine quas tibi offerimus

Communion. Diffus est gratia

Communion. Feci judicium

Communion. Simile est regnum celorum homini

Communion. Quinque prudentes virgines

Postcommunion. Placeant tibi quesumus misericors Deus

On the Birthday of One Virgin not at Martyr

Officium. Dilexisti justiciam

Prayer. Omnipotens sempiterne Deus auctor virtutis

Gradual. Dilexisti justiciam

Alleluya. Diffusa est gratia

Alleluya. Emulor enim vos Dei

Tract. Difffusa est gratia

Sequence. Virginis venerande

Offertory. Offerentur regi virgines post eam

Secret. Offerimus Domine preces et munera

Communion. Diffusa est gratia

Postcommunion. Prosint nobis Domine quesumus

On the Birthday of Many Virgins

Officium. Vultum tuum

Prayer. Deus qui ut humanum genus

Gradual. Gloriosus Deus in sanctis

Alleluya. Adducentur regi virgines

Alleluya. Quinque prudentes virgines

Offertory. Offerentur regi virgines

Secret. Fac nos quesumus Domine beatarum virginum

Communion. Quinque prudentes virgines acceperunt oleum

Postcommunion. Presta quesumus omnipotens Deus ut qui in sanctarum virginum

Common of Virgins not Martyrs

Prayer. Omnipotends sempiterne Deus qui nos idoneos

Secret. Intercedentibus sanctis virginibus

Postcommunion. Quesumus Domine Deus noster ut sacri mysterii munus

Of Non-Virgins

Prayer. Exaudi nos Deus salutaris noster

Secret. Accepta tibi Domine sit sacre plebis oblatio

Postcommunion. Satiasti Domine familiam tuam

Votive Masses

Votive masses may be said throughout the week.  The usual commemorations are:

Week-day Mass
Sunday Holy Trinity
Monday Of the Angels
Tuesday I am the Salvation (Salus populi)
Wednesday Of the Holy Ghost
Thursday Of the Holy Sacrament (Corpus Christi)
Friday Of the Holy Cross
Saturday Of the Blessed Virgin

Commemoration of the Holy Trinity

Mass of the Angels

Mass ‘Salus populi’

Commemoration of the Holy Ghost

Commemoration of Corpus Christi

Mass of the Holy Cross

Mass of the Five Wounds of Our Lord Jesus Christ

On the Feast of the Crown of the Lord

Mass of the Blessed Virgin in Advent

Sequence. Missus Gabriel de celis
Trans. J. M. Neale, Mediaeval Hymns and Sequences (London: Joseph Masters, 18667): 137.

Sequence. Mittit ad virginem
Peter Abelard
Trans. © 2014 Matthew Carver, based on those of AH Brown and AH Pearson.
A translation by J. M. Neale appears in The Hymnal Noted (London: Novello, Ewer and Co., 1851): 186 (#95).
This Sequence appears in AH-LIV: 296 (#191), with an additional final stanza:
Qui nobis tribuat
Peccati veniam,
Reatus diluat
Et donet patriam
In arce siderum.

Matthew Carver’s translation includes two additional stanzas, the latter of which is a translation of the above stanza:
Now nature’s laws are torn,
The Virgin bears a Son,
The King of kings is born,
Who pow’r divine doth own,
And rules the heaven’s height.

Who doth on us bestow
Forgiveness from His hand,
Our guilt makes white as snow
And gives us all a land
Amid His city bright.

Sequence. Verbum bonum et suave
Trans. in Hymn Melodies for the Whole Year (the Plainsong and Medieval Music Society, 1896): xx.

Mass of the Blessed Virgin from Christmas until the Purification

Mass of the Blessed Virgin from the Purification until Advent

Mass for Peace

Mass for the King

For the Invocation of the Grace of the Holy Ghost

Mass for Oneself

Mass to ask the Gifts of the Holy Ghost

Mass for Sinners

Mass for Penitents

Mass for the Inspiration of Holy Wisdom

Mass for Tribulation of the Heart

Mass for the Sick

Mass for the Health of a Friend

Mass for Good Weather

Mass to Ask for Rain

Mass in Time of War

Mass for Him that is in Prison

Mass Against the Death of Men (Salus populi)

A Mass in Time of Pestilence

Common Memorials

For Any Tribulation

For a Friend

For a Sick Person near to Death

For Those going on a Journey

For the Pope

For a Bishop

For Prelates and Subordinates

For(Against) Bodily Temptation

Against Evil Thoughts

For Petitions of Tears

Against Airy Tempests

Against Assaults on the Church

For Sailors

For Benefactors and Health of the Living

Against Adversaries

Of Saints Katherine, Margaret, and Mary Magdalene

Memorial for those with Fever, of Saint Sigismund

Memorial against Pagans

Memorial of the Incarnation

Memorial for Penitents

Memorial of the Resurrection in Easter-tide

Memorial of All Saints throughout the Year

Memorial for the Universal Church

Memorial for Peace

Memorial for the King and Queen

Nuptial Mass

Mass for a Second Marriage

Mass for Pregant Women

The Blessing of Bread on Sunday

Office for Pilgrims

Mass for those going on a Journey

Mass for the Dead

Memorial on Trentals

Memorial on Anniveraries

Memorial for a Bishop

Memorial for Brethren and Sistren

Memorial for Benefactors

Memorial for an Abbot

Memorial for a Priest

Memorial for a Father and a Mother

Memorial for Anyone Deceased

Memorial for a Deceased Friend

Memorial pro defuncto morte prevento

Memorial for Men of a Family

Memorial for Women of a Family

Memorial for a Woman Deceased

Memorial for Trentals

Memorial for Benefactors

Memorial for Those at Rest in the Cemetery

Memorial for Those to be kept in Prayer

Memorial of the Faithful Departed

General Prayers

Prose for the Dead
Sequence. Dies ire dies illa
Attr. Thomas of Celano
Trans. (Performine Edition) William Josiah Irons, 1848. Irons’ translation, as it appears in The Words of the Hymns in the Appendix of the Brompton Metrical Psalter (1861): 29, begins:
‘Day of Wrath ! O Day of mourning,
See once more the Cross returning–
Heav’n and earth in ashes burning!’
The Edition follows The English Hymnal (1906): #351 here.
Trans. (Scholarly Edition) William Josiah Irons, 1848, as altered in The English Hymnal (1906): #351.
It would appear that the original poetic text ended at ‘mei finis’.
An extensive article on this Hymn is found in John Julian A Dictionay of Hymnology: 295-301.

Mass for the Avoidance of Death

Mass of St Sebastian in time of Plague

Mass in Commemoration of St. Erasmus

Mass for St. Roch

Mass in Commemoration of St. Christopher

Mass for St. Anthony

Mass for St. Raphael

Mass for St. Gabriel

Mass of the Compassion or Lamentation of the Blessed Virgin Mary
this Mass appears in fvirtually identical form in Robert Lippe, ed. Missale Romanum Mediolani (London, 1907), Vol. II: 339. It is here indicated to be found only in the Paris Editions of 1515, 1530 and 1540.

Feast of Saint Armagillus

Armagillus (Armel), d. ca. 570; feast day August 16.  St. Armel was popularized by King Henry VII.

Sequence. Corde lingua mente tota

Mass for St. Barbara

C-01 Kyriale

Kyries with Latin Verses

Typically the Sarum sources present the Kyries with Latin Verses as given here. However, Manchester, Rylands Latin MS 24:21-24 follows each invocation with a repetition of the same melody on the text ‘Kyrie eleyson’, doubling the length of the piece.

Deus Creator omnium
anon. trans. © 2014 by Matthew Carver.
Deus Creator omnium is the beginning of the Vespers Hymn for Saturdays, by St. Ambrose.

Kyrie Rex Genitor
anon. trans. © 2014 by Matthew Carver.

Kyrie fons bonitatis
anon. trans. © 2014 by Matthew Carver.

Kyrie omnipotens Pater
anon. trans. © 2014 by Matthew Carver.

Kyrie Rex splendens
anon. trans. © 2014 by Matthew Carver.

Lux et origo
anon. trans. © 2014 by Matthew Carver.

Cunctipotens Genitor
anon. trans. © 2014 by Matthew Carver.

Conditor Kyrie
anon. trans. © 2014 by Matthew Carver.

Orbis factor
anon. trans. © 2014 by Matthew Carver.

Kyries without Latin Verses

Kyrie : O Rex clemens

Kyrie : Rex sempiterne

Kyrie : Conditor Kyrie

Kyrie : Rex splendens
(Vatican VII)

The following extracts relating to this piece are taken from William Stubbs, ed. Memorials of Saint Dunstan, Archbishop of Canterbury (London: Longman, 874).

From the Introduction, pp. cxiv-cxv.
Of Dunstan’s musical ability it is possible that we have a trace in the trope or cantus “Kyrie rex splendens,” which according to the Salisbury use is appointed to be sung on his festival after the officium. . . .  All, however, that can be said of it is that it may be Dunstan’s.  The history of it is this.  Eadmer relates a story of Dunstan falling sleep one Sunday at mass, whilst waiting for Edgar who had gone out hunting.  In his sleep he heard a solemn service in heaven, and when he awoke dictated to his servants a “Kyrie Eleyson” which he had learned there, which, according to the biographer, was in his days sung in many places among the solemn ceremonies of the mass.  It would seem a natural conclusion that the “Kyrie rex splendens” which was sung only on the feasts of Dunstan and S. Michael should be identified with this; and although William of Malmesbury does not notice it except in a very cursory way, it must been believed soon after his day.  Higden is, however, the first writer who distinctly states that the kyrie which Dunstan learned contained the “modulos harmoniae” which were contained in the trope so famous among the English, “Kyrie rex splendens.”  The statement is copied by Capgrave, and appears also in Bromton, and possibly in other writers of the fifteenth century.  If, however, we venture to assume thus much, it may reasonably be questioned whether the words or the music only should be attributed to Dunstan.  Higden’s language seems to refer to the music, that of Eadmer to the words.  It has indeed been thought that as the peculiar tropes or variations on the kyrie are not found until the thirteenth century in the common missals, the music only of this one could even by tradition be Dunstan’s.  But this is a mistake, for we possess a tropary dating nearly if not quite from Dunstan’s days [MS. Bodl. 775], which contains a large number of kyries, both words and music.  In this we do not find Kyrie rex splendens, but several forms of expression more or less coinciding with it.  If we suppose that Dunstan wrote the trope, it would not of course appear at once in the service books, but there is nothing in it inconsistent with this antiquity.  It may have been many times remodelled like the other kyries and rearranged afterwards

From the Life of St. Dunstan by Eadmer, p. 207.

‘Alio quodam tempore rex in die Dominica mane venatum lvit, et Dunstanum, qui tunc forte secum erat, Missam suam donec rediret differre petivit.  Appropinquante igitur hora tertia vir Dei ad ecclesiam procedit, et indutus sacris vestibus, regem sicut ei promiserat exspectabat.  Stabat ergo cubitis innixus altari, orationi ac lacrymis deditus.  Tum subito sopore leviter in coelum rapitur, et beatis angelorum agminibus associatus, audit eos summae Trinitati in laudem modulatis vocibus decantantes atque dicentes, “Kyrie eleyson, Christe eleyson, Kyrie eleyson.”  Quorum melodiam coelestium contemplator edoctus ad se reversus est.  Et conversus ad suos interrogat rexne venerit annon.  At ubi eum nondum venisse accepit ad suas preces sese convertit.  Factoque non grandi intervallo, iterum extra se ductus audivit in coelis altisona voce dici, “Ite, Missa est.”  Ad quod cum “Deo gratias” responderetur, accurrentes clenci regis regem adesse vociferantur, sacerdotem ut festinantius Missam celebret obsecrant.  At ille versus ab altari Missam se habere pronunciat, et aliam se ea die celebraturum abnegat.  Depositisque vestibus sacris a suis de re inquiritur, quod latebat operitur.  Ex hoc itaque sumpto sermone regem in diebus Dominicorum deinceps a venatu prohibuit.  “Kyrie eleyson” vero quod in coelestibus didicit, suos docuit, idque multis in locis hodie sancta ecclesia inter Missarum solennia canit.’

From Capgrave’s Life and Miracles of Dunstan, p. 346.

Quodam tempore rex Edgarus adhuc vivens, dum venatum pergeret, Dunstanum donec rediret Missam differre rogavit. Appropinquante hora tertia, vir Dei sacris induitur vestibus, regem exspectat, stans cubitis innixus altari, lacrymis deditus et orationi. Et ecce! subito sopore leniter pressus, raptus in coelum et junctus angelis audit eosdem Trinitati modulatis vocibus canere, “Kyrie eleyson, Christe eleyson, Kyrie eleyson.” Et rediens ad se interrogat rex advenisset. Respondetur, “Non.” Iterum ergo orat, et iterum in coelum raptus audit ibi altisona voce dici, “Ite, Missa est.” Cumque responderetur, “Deo gratias;” accurrerunt clerici regem adesse dicentes. Quibus ille respondit quod jam Missam audierat, nee aliam eo die auditurus vel celebraturus erat. Interrogatus quare, visionem aperit, et sumpto ex hoc sermone prohibuit regi ne ulterius in die Dominico venatum iret. “Kyrie eleyson,” quod in coelo audierat suos clericos docuit. Cujus modulos harmoniae adhuc continet tropus ille apud Anglos famosus, “Kyrie rex splendens.”

In a later footnote on p. 357 Stubbs comments on the above:

‘The story told by Eadmer p. 207, represents Dunstan as learning in his sleep a heavenly melody of the Kyrie eleyson. This melody, as we learn from Capgrave (p. 346 above), was identified in his days with the cantus Kyrie Rex splendens, which, as appears from the rubric above, was in some special way connected with the festival of S. Dunstan. In the Winchester Troper of the tenth century, now MS. Bodl. 775, which contains most of the Kyries mentioned in the last nore in a ruder and earlier form that that in which they appear in the Salisbury Missal, this particular Kyrie is not found. It may therefore have been originally drawn up by Dunstan; but it is impossible to say with anything like certainty that the words given in the text represent the original form.’

See also William Chappell, ‘On the use of the Greek language, written phonetically, in the early Service Books of the Church in England . . .’ Archaeologia XLIV (1881):389-402, esp. 401-402. and the plate labelled ‘A Kyrie eleyson by Saint Dunstan’.

Kyrie : Cunctipotens Genitor
(Vatican IV)

Kyrie : Rex summe

Kyrie : Orbis factor
(Vatican ‘Ad libitum’ X)

Kyrie : Lux et origo
(Vatican I)

Kyrie : Kyrie : Kyrie Deus sempiterne

Kyrie : Kyrie omnipotens

Kyrie VIII

Kyrie I

Kyrie II

Kyrie V

Kyrie III

Gloria in excelsis VIII
(Vatican III)

Gloria in excelsis II
(Vatican XI)

Gloria in excelsis VIII
(Vatican X)

Gloria in excelsis IV
(Vatican IV)

Gloria in excelsis VIII
(Vatican V)

Gloria in excelsis VI

Gloria in excelsis I

Gloria in excelsis III
(Vatican XIV)

Gloria in excelsis VII
(Vatican IX)
This Gloria contains the famous ‘Spiritus et alme’ tropes for the Blessed Virgin.

Sanctus I
(Vatican II)

Sanctus VI
(Vatican VIII)

Sanctus VIII
(Vatican IV)

Sanctus II
(Vatican XI)

Sanctus V
(Vatican VII)

Sanctus VIII
(Vatican XIII)

Sanctus II

Sanctus II
(Vatican XV)

Sanctus II
(Vatican XII)

Sanctus II
(related to Vatican XVIII)

Agnus Dei II
(Vatican XII)

Agnus Dei VII
(Vatican IV)

Agnus Dei VIII
(Vatican XIV)

Agnus Dei VIII
(Vatican VI)

Agnus Dei IV

Agnus Dei II
(Vatican II)

Agnus Dei VIII
(Vatican VII)

Agnus Dei I

Agnus Dei I
(Vatican XV)

Agnus Dei VIII
(Vatican XVIII)

Benedicamus Domino and Ite missa est.

The earliest printed Sarum Missals available (1489, 1494-Venice, 1497-Morin, 1497-Paris, 1504-Verard), essentially those identified by Dickinson as type A, contain a series of 12 settings of both ‘Benedicamus Domino’ and ‘Ite missa est’.  (These are numbered 1, 2, 3, 4a, 5, 6, 7, 8a, 9a, 10, 11, 12 in the Edition.)  Beginning with the 1500-Pynson Missal, we find the following set of 10 ‘Benedicamus Domino’ lacking the associated ‘Ite missa est’: 1, 2, 3, 5, 6, 7, 9a, 4b, 12, 10.   This trend continues through the subsequent Missals of Dickinson types B and C.  Beginning with the 1511-Hopyl-Brykman Missal we find the following set of 10 ‘Benedicamus Domino’: 1, 2, 3, 5, 6, 7, 8b, 9b, 12, 10.  This order is generally followed in Dickinson’s D type Missals.  The manuscript Gradual, British Museum Lansd. 462, also contains a set of 10 ‘Benedicamus Domino’ in the following order: 1, 2, 3, 5, 6, 7, 9a, 10, 12, 4a.  The printed Graduals contain the same set of 10 ‘Benedicamus Domino’ as Lansd. 462, but with no. 4a in 9th position.  Regarding the variations presented in nos. 4a and b, 8a and b, and 9a and b, it should be noted that all these melodies are related to one another, and the first three and last two syllables are set the same in all cases.  These variations may have arisen either through varied performances or through manuscript errors.

Ite missa est.
This may mean literally ‘Go, it has been sent.’ or ‘Go, it is the dismissal.’ In the English edition, ‘Go, the mass is ended.’ accomodates the music effectively, and is similar to the commonly used ‘Go forth, the mass is ended.’

It appears that normally there would be no audible response to the ‘Benedicamus Domino’ or the ‘Ite missa est’ at Mass. (Compare the silent response to the Versicle at Matins, Lauds, and Vespers, and note also that elsewhere throughout the Ordinary of the Mass the responses are printed in full.) When ‘Deo gratias’ does appear at Mass it seems to be only in the Graduals, as at no. 17 and at the ferial response, which is the same music as that of the office. (See Robertson, Anne Walters. ‘Benedicamus Domino: the Unwritten Tradition’, JAMS XLI-1 (1988):1-62.)

(1.)  This melody is recognizeable as a variant of Missa de Angelis. (LU:39.)
The following remarks are of interest: ‘. . . the Kyrie . . .is a work probably of Norman origin, and dating from the 14th century.  At that time the Graduale of the Cathedral of Rouen included this Kyrie among certain chants “ad libitum” for the solemnity of feasts.  In the following century, again in Rouen, we find this Kyrie already given the title “de Angelis”; and, in England, where, for the most part, the customs were the same as those of Normandy, we find, from that time, the Benedicamus sung thereafter to the air of one of the sections of this Kyrie.’ (‘The “Missa de Angelis”‘, analysis by A. Gastoue, trans. Albert Gingras, The Caecilia, December 1933, p. 375.)  Francis Burgess, The English Gradual, v. notes the resemblance of this melody to the Missa de Angelis.  However, there is no other evidence to suggest that anything more of Missa de Angelis than ‘Benedicamus’ and ‘Ite missa est’ were used in the Sarum Mass.

(6.)  Francis Burgess, The English Gradual, v. notes the resemblance of this melody to the Missa de Angelis.

(11.) This melody, too, appears to be derived from the Kyrie of Missa de Angelis; in this case, from the final Kyrie.

(17.) This melody is taken from the Alleluya of the Mass for the Vigils of Easter and Pentecost, 744.