CRIM

Citations: The Renaissance Imitation Mass Project

Relationships

ID Observer Model Derivative Relationship type Show details
<R524> Richard Freedman <1109> Missa Ave Maria: Kyrie <1110> Missa Ave Maria: Agnus Dei New material Expand

New material

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

Quotation

Exact: True

Monnayage: 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

<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

<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

<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

<R335> Max Le Mée <683> Vidi speciosam <684> Missa Vidi speciosam: Sanctus Omission Expand

Omission

<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

<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

<R143> Max Le Mée <291> Vidi speciosam <292> Missa Vidi speciosam: Credo Omission Expand

Omission

<R139> Max Le Mée <283> Vidi speciosam <284> Missa Vidi speciosam: Credo Omission Expand

Omission

Remarks: There is a Cadence in the mass, but weaker by far than the CAD in the model. On a point a view of form, as the 'pause' and separation in two parts is not present, I consider it as an omission.

<R80> Max Le Mée <161> Vidi speciosam <162> 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: 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...

<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.

<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.

<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.

<R479> Max Le Mée <975> Vidi speciosam <976> Missa Vidi speciosam: Agnus Dei 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

<R478> Max Le Mée <973> Vidi speciosam <974> Missa Vidi speciosam: Agnus Dei 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

<R477> Max Le Mée <971> Vidi speciosam <972> Missa Vidi speciosam: Agnus Dei 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

Remarks: The first duo of the mass contains an anticipation of the countersubject in the soggetto, making it embellished and amplified at the same time.

<R371> Max Le Mée <756> Vidi speciosam <757> Missa Vidi speciosam: Agnus Dei 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

<R370> Max Le Mée <754> Vidi speciosam <755> Missa Vidi speciosam: Agnus Dei Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: True

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False