“Missa In Gallicantu”. Sarum Use Propers For Christmas Midnight Mass. The Tallis Scholars. Director Of Music: Peter Phillips.

“Missa in Gallicantu”.

Sarum Use Propers For 

Christmas Midnight Mass.

The Tallis Scholars.

Director Of Music: Peter Phillips.

Available On YouTube

HERE

New Liturgical Movement has a most interesting Article 

which develops further this particular Sarum Use Propers.

The Article, by Gregory Dipippo, can be read in full at 

NEW LITURGICAL MOVEMENT

This recording presents the Gregorian Propers for 

the First Mass of Christmas according to the Latin 

Use of Salisbury, or Sarum Use. 

This Mass would have been Celebrated shortly after Midnight on Christmas Eve and is designated in the Sarum Missal as the “Missa in Gallicantu” (“Mass at Cockcrow”). 

The Mass opens with the Officium (more commonly 

known as the Introit), “Dominus dixit ad me”, followed 

immediately by a troped Kyrie. 

Tropes were additional textual interpolations 

inserted into the original ninefold “Kyrie eleison”.

 

In Mediæval England, the widespread use of troping 

rendered the Kyrie effectively part of the Proper. 

The “Gloria” is intoned by the Celebrant at the Altar. 

Like the “Kyrie”, it is highly syllabic and confined to 

a relatively narrow melodic range. 

The Collect would normally follow (though it 

is omitted in this recording), succeeded 

by a Lesson from the Book of Isaiah. 

In the Sarum Use, this Lesson appears in a troped form known as “Laudes Deo”. It is performed by two Clerks: One chants the Biblical text, while the other inserts the troped material; both join together for the final sentence. 

The Epistle — also omitted here — would 

then have been read by the Sub-Deacon. 

The Gradual, “Tecum principium”, is intoned by three Clerks and represents the most elaborate Chant heard thus far. 

Several words are embellished with extended melismas, 

and the melodic range is wide, spanning a tenth. 

Equally ornate is the “Alleluia” that follows, whose Verse, “Dominus dixit”, repeats the text of the Introit Antiphon. 

The Sequence “Nato canunt omnia” 

introduces a markedly different musical style. 

Sequences originated from the practice of greatly 

extending the final syllable of the “Alleluia”, 

and, like many such compositions, this 

Sequence is structured in a Hymn-like form. 

It is sung antiphonally, with the ringing of 

Bells underscoring its Festive character. 

Following the Gospel — which would 

normally have been proclaimed by the Deacon, 

but is omitted here — the “Credo” is sung. 

Unlike the Roman Rite, which employs several melodies 

for the “Creed”, the Sarum Use uses only a single setting. 

After the “Credo”, the Offertory accompanies the presentation of the Bread and Wine. Originally a lengthy antiphonal Psalm, the Offertory was later shortened as the practice of 

omitting Verses became customary. 

The Proper Preface of Christmas leads into the 

“Sanctus”, which is intoned by the “Rulers 

Of The Choir” and continued by the full ensemble. 

The Celebrant then proceeds with 

the Canon, or Eucharistic Prayer. 

This is followed by the “Pater noster”, the 

Fraction of The Host, and the “Pax”, or “Kiss of Peace”. 

The “Agnus Dei” concludes the Ordinary of The Mass. 

The Communion Chant, “In splendoribus sanctorum”, 

is a brief piece sung during the reception of Communion. 

Afterwards, the Celebrant recites the Post-Communion 

Prayer, and The Mass concludes with the 

Dismissal and the Response of Thanksgiving.