CRIM

Citations: The Renaissance Imitation Mass Project

Relationships

ID Observer Model Derivative Relationship type Show details
<R1> Ian Lorenz <1> Tota pulchra es <2> Missa Tota pulchra es: Credo Quotation Expand

Quotation

Exact: True

Monnayage: False

<R2> Ian Lorenz <3> Tota pulchra es <4> Missa Tota pulchra es: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: False

New combination: False

Remarks: Shifted and transposed

<R3> Drew Ivarson <5> Tota pulchra es <6> Missa Tota pulchra es: Agnus Dei Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R4> David Fiala <7> Tota pulchra es <8> Missa Tota pulchra es: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

Remarks: GENERAL COMMENT. General rewriting of a SATB model in a Missa a vocibus paribus TTTB (meaning S of model is most of the time transposed 8- in Mass).

<R5> Anne Nautré <9> Baisez moy <10> Missa Baisez moy: Sanctus Quotation Expand

Quotation

Exact: True

Monnayage: False

Remarks: Deux brèves de silence interpolées m.16 et 17 à la voix de tenor primus

<R6> David Fiala <11> Baisez moy <12> Missa Baisez moy: Sanctus Mechanical transformation Expand

Mechanical transformation

Sounding in different voice(s): True

Melodically inverted: False

Retrograde: False

Metrically shifted: True

Transposed: True

Double or invertible counterpoint: False

Remarks: The Canon at Unisson 4 breves is made possible by the interpolation of 2 pauses (mes. 16-17 and 33-34)

<R7> Raphaëlle Rouzic <13> Baisez moy <14> Missa Baisez moy: Sanctus Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

Remarks: Several repetitions of Sogetto, one first note added (4th below)

<R8> David Fiala <15> Baisez moy <16> Missa Baisez moy: Agnus Dei Mechanical transformation Expand

Mechanical transformation

Sounding in different voice(s): False

Melodically inverted: False

Retrograde: False

Metrically shifted: True

Transposed: False

Double or invertible counterpoint: False

<R9> Alexis Risler <17> Benedicta es <18> Missa Benedicta es: Gloria Quotation Expand

Quotation

Exact: False

Monnayage: True

<R10> Alexis Risler <19> Benedicta es <20> Missa Benedicta es: Gloria Mechanical transformation Expand

Mechanical transformation

Sounding in different voice(s): False

Melodically inverted: False

Retrograde: False

Metrically shifted: False

Transposed: True

Double or invertible counterpoint: False

Remarks: Fuga in Palestrina is 1+ instead of 8+, but otherwise exact quotation

<R11> Alexis Risler <21> Benedicta es <22> Missa Benedicta es: Gloria Quotation Expand

Quotation

Exact: True

Monnayage: False

<R12> Alexis Risler <23> Benedicta es <24> Missa Benedicta es: Gloria Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R13> Alexis Risler <25> Benedicta es <26> Missa Benedicta es: Gloria Mechanical transformation Expand

Mechanical transformation

Sounding in different voice(s): False

Melodically inverted: False

Retrograde: False

Metrically shifted: False

Transposed: True

Double or invertible counterpoint: False

Remarks: Fuga in Palestrina is 1+ instead of 8+, but otherwise exact quotation Same as Palestrina mes.7

<R14> Alexis Risler <27> Benedicta es <28> Missa Benedicta es: Gloria Quotation Expand

Quotation

Exact: False

Monnayage: True

<R15> Alexis Risler <29> Benedicta es <30> Missa Benedicta es: Gloria Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: True

Old counter-subject shifted: False

Old counter-subject transposed: True

New combination: False

<R16> Alexis Risler <31> Benedicta es <32> Missa Benedicta es: Gloria Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R17> Alexis Risler <33> Benedicta es <34> Missa Benedicta es: Gloria Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: True

<R18> Alexis Risler <35> Benedicta es <36> Missa Benedicta es: Gloria Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R19> Alexis Risler <37> Benedicta es <38> Missa Benedicta es: Gloria Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: True

<R20> Alexis Risler <39> Benedicta es <40> Missa Benedicta es: Gloria Mechanical transformation Expand

Mechanical transformation

Sounding in different voice(s): False

Melodically inverted: True

Retrograde: False

Metrically shifted: False

Transposed: False

Double or invertible counterpoint: False

<R21> Alexis Risler <41> Benedicta es <42> Missa Benedicta es: Gloria Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R22> Alexis Risler <43> Benedicta es <44> Missa Benedicta es: Gloria Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R23> Alexis Risler <45> Benedicta es <46> Missa Benedicta es: Gloria Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: True

<R24> Alexis Risler <47> Benedicta es <48> Missa Benedicta es: Gloria Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: True

<R25> Alexis Risler <49> Benedicta es <50> Missa Benedicta es: Gloria Mechanical transformation, Non-mechanical transformation Expand

Mechanical transformation, Non-mechanical transformation

Sounding in different voice(s): True

Melodically inverted: False

Retrograde: False

Metrically shifted: True

Transposed: True

Double or invertible counterpoint: False

Embellished: False

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R26> Alexis Risler <51> Benedicta es <52> Missa Benedicta es: Gloria Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R27> Alexis Risler <53> Benedicta es <54> Missa Benedicta es: Gloria Quotation, Non-mechanical transformation Expand

Quotation, Non-mechanical transformation

Exact: True

Monnayage: False

Embellished: False

Reduced: True

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R28> Alexis Risler <55> Benedicta es <56> Missa Benedicta es: Gloria Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

Remarks: First entry is different, creating a new combination, but the three other entries are exactly the same (even if the last is transposed 8-)

<R29> Alexis Risler <57> Benedicta es <58> Missa Benedicta es: Gloria Mechanical transformation Expand

Mechanical transformation

Sounding in different voice(s): True

Melodically inverted: False

Retrograde: False

Metrically shifted: False

Transposed: True

Double or invertible counterpoint: False

Remarks: Some voices are transposed 8-, others not

<R30> Alexis Risler <59> Benedicta es <60> Missa Benedicta es: Gloria Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: True

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

Remarks: In the Mass, one of the ID is identical to the model, the other is transposed in different voices

<R31> Alexis Risler <61> Benedicta es <62> Missa Benedicta es: Gloria Quotation, Mechanical transformation Expand

Quotation, Mechanical transformation

Exact: False

Monnayage: True

Sounding in different voice(s): False

Melodically inverted: False

Retrograde: False

Metrically shifted: False

Transposed: True

Double or invertible counterpoint: False

Remarks: The PEn is an exact quotation, but the third entry is an octave lower in the Mass

<R32> Alexis Risler <63> Benedicta es <64> Missa Benedicta es: Gloria Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: True

<R33> Alexis Risler <65> Missa Benedicta es: Gloria <66> Missa Benedicta es: Gloria Mechanical transformation Expand

Mechanical transformation

Sounding in different voice(s): False

Melodically inverted: False

Retrograde: False

Metrically shifted: True

Transposed: False

Double or invertible counterpoint: False

<R34> Alexis Risler <67> Benedicta es <68> Missa Benedicta es: Gloria Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

Remarks: Also invertible counterpoint.

<R35> Alexis Risler <69> Benedicta es <70> Missa Benedicta es: Gloria Quotation Expand

Quotation

Exact: False

Monnayage: True

Remarks: Sogetto slightly different, but a big impact on the PENs based on it

<R36> Alexis Risler <71> Benedicta es <72> Missa Benedicta es: Gloria Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

Remarks: PENs are similar, but the fact that the sogetti are slightly different creates different modules

<R37> Alexis Risler <73> Benedicta es <74> Missa Benedicta es: Gloria Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: True

Remarks: 5-part module in homorythm in the model. Same 5 parts in the Mass, but not in homorythm.

<R38> Alexis Risler <75> Benedicta es <76> Missa Benedicta es: Gloria Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R39> Alexis Risler <77> Benedicta es <78> Missa Benedicta es: Gloria Quotation Expand

Quotation

Exact: False

Monnayage: True

<R40> Alexis Risler <79> Benedicta es <80> Missa Benedicta es: Gloria Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R41> Alexis Risler <81> Benedicta es <82> Missa Benedicta es: Gloria Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R42> Alexis Risler <83> Benedicta es <84> Missa Benedicta es: Kyrie Quotation Expand

Quotation

Exact: True

Monnayage: False

<R43> Alexis Risler <85> Benedicta es <86> Missa Benedicta es: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R44> Alexis Risler <87> Benedicta es <88> Missa Benedicta es: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: True

<R45> Alexis Risler <89> Benedicta es <90> Missa Benedicta es: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: True

<R46> Alexis Risler <91> Benedicta es <92> Missa Benedicta es: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R47> Alexis Risler <93> Benedicta es <94> Missa Benedicta es: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: True

<R48> Alexis Risler <95> Benedicta es <96> Missa Benedicta es: Kyrie Quotation Expand

Quotation

Exact: False

Monnayage: True

<R49> Alexis Risler <97> Benedicta es <98> Missa Benedicta es: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R50> Max Le Mée <99> Vidi speciosam <100> Missa Vidi speciosam: Kyrie Mechanical transformation Expand

Mechanical transformation

Sounding in different voice(s): False

Melodically inverted: False

Retrograde: False

Metrically shifted: True

Transposed: False

Double or invertible counterpoint: False

Remarks: The ID has been reproduced with regular entries, which probably explains the slight changes in the melodic lines.

<R51> Alexis Risler <101> Benedicta es <102> Missa Benedicta es: Gloria Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: True

New combination: False

<R52> Alexis Risler <103> Benedicta es <104> Missa Benedicta es: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: True

<R53> Alexis Risler <105> Benedicta es <106> Missa Benedicta es: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: True

<R54> Alexis Risler <107> Benedicta es <108> Missa Benedicta es: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: False

Truncated: True

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R55> Alexis Risler <109> Benedicta es <110> Missa Benedicta es: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: True

<R56> Alexis Risler <111> Benedicta es <112> Missa Benedicta es: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: True

<R57> Alexis Risler <113> Benedicta es <114> Missa Benedicta es: Credo Quotation Expand

Quotation

Exact: True

Monnayage: False

Remarks: Cadence is exact quotation, exept for the dovetail entry in Palestrina

<R58> Alexis Risler <115> Benedicta es <116> Missa Benedicta es: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R59> Alexis Risler <117> Benedicta es <118> Missa Benedicta es: Credo Quotation Expand

Quotation

Exact: False

Monnayage: True

<R60> Alexis Risler <119> Benedicta es <120> Missa Benedicta es: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: True

<R61> Alexis Risler <121> Benedicta es <122> Missa Benedicta es: Credo Quotation Expand

Quotation

Exact: False

Monnayage: True

<R62> Alexis Risler <123> Benedicta es <124> Missa Benedicta es: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: True

<R63> Alexis Risler <125> Benedicta es <126> Missa Benedicta es: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: True

<R64> Alexis Risler <127> Benedicta es <128> Missa Benedicta es: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R65> Alexis Risler <129> Benedicta es <130> Missa Benedicta es: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R66> Alexis Risler <131> Benedicta es <132> Missa Benedicta es: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R67> Alexis Risler <133> Benedicta es <134> Missa Benedicta es: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R68> Alexis Risler <135> Benedicta es <136> Missa Benedicta es: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R69> Alexis Risler <137> Benedicta es <138> Missa Benedicta es: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R70> Alexis Risler <139> Benedicta es <140> Missa Benedicta es: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: False

New combination: False

<R71> Anne Nautré <141> Susanne un jour <142> Missa Susanne un jour: Kyrie Quotation Expand

Quotation

Exact: True

Monnayage: False

Remarks: Légères modifications dans le Kyrie: m.5 T, m.6 T2, m.8 T2/C, fin de T2.

<R72> Anne Nautré <143> Susanne un jour <144> Missa Susanne un jour: Kyrie Quotation, Mechanical transformation Expand

Quotation, Mechanical transformation

Exact: False

Monnayage: True

Sounding in different voice(s): True

Melodically inverted: False

Retrograde: False

Metrically shifted: False

Transposed: False

Double or invertible counterpoint: False

Remarks: Les valeurs rythmiques du "sogetto" et "counter sogetto" ont été modifiées, mais on retrouve les intervalles caractéristiques du "contrapuntal duo": (1)/5/8/5

<R73> Anne Nautré <145> Susanne un jour <146> Missa Susanne un jour: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: True

Remarks: "Quotation monnayage" du sogetto de la chanson (valeurs rythmiques modifiées), traité en "fuga".

<R74> Anne Nautré <147> Susanne un jour <148> Missa Susanne un jour: Kyrie Quotation Expand

Quotation

Exact: False

Monnayage: True

Remarks: "Quotation monnayage" du counter sogetto de la chanson, traité en fugue.

<R75> Alexis Risler <149> Benedicta es <150> Missa Benedicta es: Sanctus Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: False

Truncated: False

New counter-subject: True

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: True

Remarks: The sogetto from Josquin is embellished and used in a broader new combination

<R76> Alexis Risler <151> Benedicta es <152> Missa Benedicta es: Sanctus Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: True

<R77> Alexis Risler <153> Benedicta es <154> Missa Benedicta es: Sanctus Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: True

Remarks: The last ID is embellished.

<R78> Alexis Risler <155> Benedicta es <156> Missa Benedicta es: Sanctus Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R79> Max Le Mée <157> Vidi speciosam <158> Missa Vidi speciosam: Kyrie Non-mechanical transformation, Omission Expand

Non-mechanical transformation, Omission

Embellished: False

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: There are two ways to interpret this relationship. The first one is to consider that Sohier has amplified the first Fg in order to make his first Kyrie. The second one is to consider he has seen 'Vidi speciosam'and 'cuius inaestimabilis'as one and the same Fg, broken by another soggetto ('de super rivos aquarum') that he has decided to omit in his missa.

<R80> Max Le Mée <159> Vidi speciosam <160> Missa Vidi speciosam: Kyrie Quotation Expand

Quotation

Exact: True

Monnayage: False

Remarks: The position of the clausules (tenorizans, cantizans and bassus) is the same, and the two other voices behave with a delay that is quite comparable, which makes me think Sohier could have reproduced this CAD to finish his first Kyrie. I would not take any bet on this assertion, the model is not clearly structured - at least is very complex in its structure -, so it would not surprise me from Sohier to pick materials here and there in order to build his missa like a LEGO game...

<R81> Agostino Magro <161> Je suis déshéritée <162> Missa Je suis déshéritée: Kyrie Quotation Expand

Quotation

Exact: False

Monnayage: True

<R82> Agostino Magro <163> Je suis déshéritée <164> Missa Je suis déshéritée: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R83> Max Le Mée <165> Vidi speciosam <166> Missa Vidi speciosam: Kyrie Mechanical transformation Expand

Mechanical transformation

Sounding in different voice(s): True

Melodically inverted: False

Retrograde: False

Metrically shifted: False

Transposed: False

Double or invertible counterpoint: False

Remarks: The 'change of voice role prevents me from asserting a quotation with monnayage, even though the time intervals and the notes are the same.

<R84> Max Le Mée <167> Vidi speciosam <168> Missa Vidi speciosam: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

Remarks: This assertion is interesting on the point point of view of form. If we take into account that Sohier started his Christe on the material of 'Quae est ista quae proces sit', the second part of the model, we can assume that the first Kyrie quotes the whole first part of the song. 'Vidi speciosam'and 'cuius inaestimabilis'are built on the same soggetto, which start on a fifth can be considered to be found back in the cadential 'et lilia con valium'. Between these three sentences, several soggetti have been omited by Sohier: 'ascendentem...', 'de super rivos', 'et sicut dies', circumdabant'. I assert a New combination, for I assume Sohier has taken three sentences and made them into one. We could also think, taking the omission into consideration, that the sentences of the model are just one big fuga, broken by some new soggetti, and that this fuga has been transformed with amplification and change of voice role.

<R85> Max Le Mée <169> Vidi speciosam <170> Missa Vidi speciosam: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

Remarks: I consider the cadence of the mass as a new material, for it does not resemble at all the CAD in the model on 'con surgens', though it is at the same place on a point of view of form (the second Kyrie will start on the material of 'pulchra ut luna').

<R86> Max Le Mée <171> Vidi speciosam <172> Missa Vidi speciosam: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

Remarks: It is really the soggetto that is turned into another Fg. We can consider it as a Fg turned into a new Fg, with completely new voice roles...

<R87> Max Le Mée <173> Vidi speciosam <174> Missa Vidi speciosam: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

Remarks: Another fuga using the same soggetto...

<R88> Max Le Mée <175> Vidi speciosam <176> Missa Vidi speciosam: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

Remarks: Another fuga using the same soggetto...

<R89> Max Le Mée <177> Vidi speciosam <178> Missa Vidi speciosam: Kyrie Quotation, Mechanical transformation Expand

Quotation, Mechanical transformation

Exact: False

Monnayage: True

Sounding in different voice(s): True

Melodically inverted: False

Retrograde: False

Metrically shifted: False

Transposed: False

Double or invertible counterpoint: False

Remarks: I want to consider the CAD as a quotation with monnayage, for the clausule of bassus is lead by an entry of the fuga with similar melody in the model and the mass. It is very fragile. For the whole Kyrie, Sohier does not find strong structural elements in the model, for this model is written quite freely. Only the soggetti are taken and turned into new fugas, this is why I indicated 'change of voice role'for every element I have studied.

<R90> Alexis Risler <179> Benedicta es <180> Missa Benedicta es: Sanctus Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R91> Alexis Risler <181> Benedicta es <182> Missa Benedicta es: Sanctus Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: True

New combination: False

<R92> Alexis Risler <183> Benedicta es <184> Missa Benedicta es: Sanctus Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: True

Truncated: True

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: sogetto is truncated, but presentation type is amplified

<R93> Alexis Risler <185> Benedicta es <186> Missa Benedicta es: Sanctus Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: True

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R94> Alexis Risler <187> Benedicta es <188> Missa Benedicta es: Sanctus Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: True

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R95> Max Le Mée <189> Vidi speciosam <190> Missa Vidi speciosam: Credo Mechanical transformation, Non-mechanical transformation Expand

Mechanical transformation, Non-mechanical transformation

Sounding in different voice(s): True

Melodically inverted: False

Retrograde: False

Metrically shifted: True

Transposed: False

Double or invertible counterpoint: False

Embellished: False

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R96> Max Le Mée <191> Vidi speciosam <192> Missa Vidi speciosam: Credo Mechanical transformation Expand

Mechanical transformation

Sounding in different voice(s): True

Melodically inverted: False

Retrograde: False

Metrically shifted: False

Transposed: False

Double or invertible counterpoint: False

<R97> Max Le Mée <193> Vidi speciosam <194> Missa Vidi speciosam: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: The 'answer'of the ID, in the model, is turned into a soggetto, repeated in the mass as a countrapuntal block duplicated at contra and bassus.

<R98> Max Le Mée <195> Vidi speciosam <196> Missa Vidi speciosam: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: The 'answer'of the ID, in the model, is turned into a soggetto, repeated in the mass as a countrapuntal block duplicated at contra and bassus.

<R99> Max Le Mée <197> Vidi speciosam <198> Missa Vidi speciosam: Credo Mechanical transformation, Non-mechanical transformation Expand

Mechanical transformation, Non-mechanical transformation

Sounding in different voice(s): True

Melodically inverted: False

Retrograde: False

Metrically shifted: False

Transposed: False

Double or invertible counterpoint: False

Embellished: False

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: I am not certain about the amplification. The figuralism emphasizes the fact that the counter-soggetto comes from the end of the soggetto, so that we really hear it as an amplification of the soggetto...

<R100> Max Le Mée <199> Vidi speciosam <200> Missa Vidi speciosam: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: True

Truncated: True

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: It is truncated for the fuga becomes a NIM, so that the soggetto is only used twice in the mass. It is amplified for the little CAD becomes overlapping CAD, based on a NIM.