CRIM

Citations: The Renaissance Imitation Mass Project

Relationships

ID Observer Model Derivative Relationship type Show details
<R60> Max Le Mée <121> Vidi speciosam <122> Missa Vidi speciosam: Kyrie Omission Expand

Omission

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.

<R70> Max Le Mée <141> Vidi speciosam <142> 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: 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.

<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...

<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...

<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...

<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').

<R65> Max Le Mée <131> Vidi speciosam <132> Missa Vidi speciosam: Kyrie Omission Expand

Omission

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.

<R64> Max Le Mée <129> Vidi speciosam <130> 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.

<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...

<R35> Max Le Mée <70> Vidi speciosam <71> 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.

<R239> Max Le Mée <488> Vidi speciosam <489> Missa Vidi speciosam: Gloria 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

<R144> Max Le Mée <293> Vidi speciosam <294> Missa Vidi speciosam: Gloria New material Expand

New material

<R246> Max Le Mée <502> Vidi speciosam <503> Missa Vidi speciosam: 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

<R245> Max Le Mée <500> Vidi speciosam <501> Missa Vidi speciosam: Gloria Quotation Expand

Quotation

Exact: True

Monnayage: False

<R243> Max Le Mée <496> Vidi speciosam <497> Missa Vidi speciosam: Gloria 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

<R241> Max Le Mée <492> Vidi speciosam <493> Missa Vidi speciosam: Gloria 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

<R235> Max Le Mée <480> Vidi speciosam <481> Missa Vidi speciosam: Gloria Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: True

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R233> Max Le Mée <476> Vidi speciosam <477> Missa Vidi speciosam: Gloria 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

<R232> Max Le Mée <474> Vidi speciosam <475> Missa Vidi speciosam: Gloria New material Expand

New material

Remarks: Apparently New Material. Resembles the counter subject we find in the Credo at the same place.

<R231> Max Le Mée <472> Vidi speciosam <473> Missa Vidi speciosam: Gloria Mechanical transformation Expand

Mechanical transformation

Sounding in different voice(s): True

Melodically inverted: False

Retrograde: False

Metrically shifted: True

Transposed: False

Double or invertible counterpoint: False