CRIM

Citations: The Renaissance Imitation Mass Project

Relationships

ID Observer Model Derivative Relationship type Show details
<R570> Richard Freedman <1203> Missa O gente brunette: Kyrie <1204> O gente brunette Quotation Expand

Quotation

Exact: False

Monnayage: True

Remarks: This is a test relationship.

<R524> Richard Freedman <1109> Missa Ave Maria: Kyrie <1110> Missa Ave Maria: Agnus Dei New material Expand

New material

<R508> Richard Freedman <1077> Missa Ave Maria: Kyrie <1078> Missa Ave Maria: Kyrie 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

<R509> Richard Freedman <1079> Missa Ave Maria: Kyrie <1080> Missa Ave Maria: Kyrie 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

<R511> Richard Freedman <1083> Missa Ave Maria: Kyrie <1084> Missa Ave Maria: Kyrie 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

<R523> Richard Freedman <1107> Missa Ave Maria: Kyrie <1108> Missa Ave Maria: Agnus Dei Quotation Expand

Quotation

Exact: True

Monnayage: False

<R510> Richard Freedman <1081> Missa Ave Maria: Kyrie <1082> Missa Ave Maria: Kyrie 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

<R81> Max Le Mée <163> Vidi speciosam <164> 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.

<R66> Max Le Mée <133> Vidi speciosam <134> Missa Vidi speciosam: Kyrie New material Expand

New material

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').

<R98> Max Le Mée <199> Vidi speciosam <200> Missa Vidi speciosam: Credo 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

Remarks: I consider that the CAD is a quotation. The huge Fg of the model is severely truncated in the mass.

<R76> Max Le Mée <153> Vidi speciosam <154> 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

<R79> Max Le Mée <159> Vidi speciosam <160> 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.

<R77> Max Le Mée <155> Vidi speciosam <156> 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

<R78> Max Le Mée <157> Vidi speciosam <158> 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.

<R67> Max Le Mée <135> Vidi speciosam <136> 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: 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...

<R95> Max Le Mée <193> Vidi speciosam <194> Missa Vidi speciosam: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: True

Amplified: False

Truncated: True

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: Such an important reduction/truncation that it could be considered an omision... if the text was not 'et invisibilium'. This section of the mass goes unnoticed in regard to 'visibilium ominum' that is built on the 'main theme' of the model. Sohier uses a quasi-omision to make a figuralism.

<R96> Max Le Mée <195> Vidi speciosam <196> Missa Vidi speciosam: Credo New material Expand

New material

Remarks: I deem the HR on 'Iesum Christum' important enough to be noticed as New Material.

<R69> Max Le Mée <139> Vidi speciosam <140> 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: Another fuga using the same soggetto...

<R61> Max Le Mée <123> Vidi speciosam <124> 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...

<R68> Max Le Mée <137> Vidi speciosam <138> 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: Another fuga using the same soggetto...