Omnis arbor, quæ non facit fructum bonum, excidétur et in ignem mittétur. Igitur ex frúctibus eórum cognoscétis eos...

Deus, cujus providéntia in sui dispositióne non fállitur: te súpplices exorámus; ut nóxia cuncta submóveas, et ómnia nobis profutúra concédas. Per Dóminum.

Today is the 7th Sunday post Pentecosten; its Mass is Omnes gentes plaudite manibus. At Saint-Eugène today, the Cantores Sanctae Mariae from London's Saint John's Wood parish church of Our Lady is the welcome guest schola. 

... For most of the choir’s history, the modern rite of the Mass in Latin has been used but recently the English translation has been adopted for most Sundays with Latin reserved for the last Sunday of the month. Within this framework, the choir has specialized in renaissance polyphony (for all of the Ordinary of the Mass other than the Creed) and plainchant for all of the Propers (other than the Gradual which is usually sung in faux-bourdon). Although the core repertoire of the choir is mainstream 16th century Italian, Spanish, Flemish and English, in recent years directors have edited their own editions of rare masses and motets. The choir would have certainly given the first modern performance of many works. Classical settings of masses (eg Haydn and Mozart) with orchestra have been a feature of Easter and Pentecost celebrations at LG [Lisson Grove is the name of the district where the church is situated] since the early days and are continued today. We believe that the range of musical forms and repertoire within the liturgy to be rare even among professional choirs in capital cities....

The Cantores are singing, inter alia, the Mass Præter rerum seriem of George de La Hèle (1547-1586), maître de chapelle of Philip II of Spain; it is a parody of the famous motet of Josquin des Prez. I know these works only via recordings but they are very beautiful. The Liturgia page is here. The libellus for Holy Mass is here and for Vespers here. 

At Saint-Eugène, as I noted supra, the Mass Praeter rerum seriem of George de La Hèle (1547-1586) was sung today (with the Credo III; I've no idea whether the composer did not write a Credo or if, as their History page suggests, the Cantores don't sing it or if the plainchant Credo is used for the sake of the people's singing). He was maître de chapelle of Philip II and directed, from 1582 until his death, the famous Capilla Flamenca founded at Madrid in 1515 by Charles V. The Missa Præter rerum seriem is based on Josquin des Prez's six voice motet; it is composed for eight voices, as were most of his Masses.

At Saint-Eugène, the entry of the sacred ministers was accompanied by a prelude on the organ performed by Dr Ratovondrahety. The Asperges followed-- I can hear that the Cantores are singing, ha. M l'Abbé Gubitoso celebrated Holy Mass.

Introitus. Ps. 46, 2. Omnes gentes, pláudite mánibus: jubiláte Deo in voce exsultatiónis. Ps. ibid., 3. Quóniam Dóminus excélsus, terribilis: Rex magnus super omnem terram. ℣. Glória Patri.

The de La Hèle is simply splendid.

Kyrie, Gloria.

Oratio. Deus, cujus providéntia in sui dispositióne non fállitur: te súpplices exorámus; ut nóxia cuncta submóveas, et ómnia nobis profutúra concédas. Per Dóminum.

Léctio Epístolæ beáti Pauli Apóstoli ad Romános.
Rom. 6, 19-23.
Fratres: Humánum dico, propter infirmitátem carnis vestræ: sicut enim exhibuístis membra vestra servíre immundítiæ et iniquitáti ad iniquitátem, ita nunc exhibéte membra vestra servíre justítiæ in sanctificatiónem. Cum enim servi essétis peccáti, líberi fuístis justítiæ. Quem ergo fructum habuístis tunc in illis, in quibus nunc erubéscitis? Nam finis illórum mors est. Nunc vero liberáti a peccáto, servi autem facti Deo, habétis fructum vestrum in sanctificationem, finem vero vitam ætérnam. Stipéndia enim peccáti mors. Grátia autem Dei vita ætérna, in Christo Jesu, Dómino nostro.

Only the Cantores Sanctae Mariae are named in the libellus, so I will be interested to hear their faux-bourdon (and their Domine salvam fac Galliam, ahem).

An impressive faux-bourdon setting of the Graduale.

Graduale. Ps. 33, 12 et 6. Veníte, fílii, audíte me: timórem Dómini docébo vos. ℣. Accédite ad eum, et illuminámini: et fácies vestræ non confundéntur.

The Cantores sang the Alleluia as it is provided in the Graduale. It occurs to me that I ought to be using the Graduale triplex to follow; hmm.

Allelúja, allelúja. ℣. Ps. 46, 2. Omnes gentes, pláudite mánibus: jubiláte Deo in voce exsultatiónis. Allelúja.

✠ Sequéntia sancti Evangélii secúndum Matthǽum.
Matth. 7, 15-21.
In illo témpore: Dixit Jesus discípulis suis: Atténdite a falsis prophétis, qui véniunt ad vos in vestiméntis óvium, intrínsecus autem sunt lupi rapáces: a frúctibus eórum cognoscétis eos. Numquid cólligunt de spinis uvas, aut de tríbulis ficus? Sic omnis arbor bona fructus bonos facit: mala autem arbor malos fructus facit. Non potest arbor bona malos fructus fácere: neque arbor mala bonos fructus fácere. Omnis arbor, quæ non facit fructum bonum, excidétur et in ignem mittétur. Igitur ex frúctibus eórum cognoscétis eos. Non omnis, qui dicit mihi, Dómine, Dómine, intrábit in regnum cœlórum: sed qui facit voluntátem Patris mei, qui in cœlis est, ipse intrábit in regnum cœlórum.

Credo.

At Saint-Eugène, during the incensing at the Offertory the Cantores sang the Laudate Dominum quoniam bonus (Psalm 146) à 7 voix of Orlando Lassus (1532-1594), called 'the Prince of Music', maître de chapelle of the Dukes of Bavaria. 

(This recording [https://youtu.be/qhRJegwp7Do?si=4xGI7nCExxz4qUJa] is at YouTube, as is obvious from the link, but won't upload for whatever reason.)

Offertorium. Dan. 3,40. Sicut in holocáustis aríetum et taurórum, et sicut in mílibus agnórum pínguium: sic fiat sacrifícium nostrum in conspéctu tuo hódie, ut pláceat tibi: quia non est confúsio confidéntibus in te, Dómine.

At Saint-Eugène, the Cantores did indeed sing the Offertorium with the text supra, not the one that appears in the 1923 Missale.

Secreta. Deus, qui legálium differéntiam hostiárum unius sacrifícii perfectione sanxísti: accipe sacrifícium a devótis tibi fámulis, et pari benedictióne, sicut múnera Abel, sanctífica; ut, quod sínguli obtulérunt ad majestátis tuæ honórem, cunctis profíciat ad salútem. Per Dóminum.

I think that this video is the Sanctus only; I can't seem to compel YouTube to give up the recordings which are (certainly; I see them) there.

Sanctus.

The Cantores sang the Benedictus of de La Hèle after the Elevation.

Benedictus, Agnus Dei.

At Saint-Eugène, at the Communion was sung the motet Descendi in hortum, à 5 voix of Giovanni Pierluigi da Palestrina (c. 1525-1594), maître de chapelle papale of Saint Peter at the Vatican, of Saint John at the Lateran and of Saint Mary Major. This is from Palestrina's 4th book of Motets published at Rome in 1584 (the text is taken from the Canticle of Canticles 6, 10). 

Communio. Ps. 30, 3. Inclína aurem tuam, accélera, ut erípias me.

Postcommunio. Tua nos, Dómine, medicinális operátio, et a nostris perversitátibus cleménter expédiat, et ad ea, quæ sunt recta, perdúcat. Per Dóminum.

At Saint-Eugène, at the Last Gospel and during the sortie des clercs, the Cantores sang the Salve Regina of Peter Philips (c. 1560-1628), maître de chapelle of the English College at Rome, canon of Soignies and of Béthune, organist of the chapel of Archduke Albert VII of Austria, governor of the Low Countries. There is a version of five minutes and one of two or three times that: I should hunt about, I expect. 

LDVM