CRIM

Citations: The Renaissance Imitation Mass Project

Relationships

ID Observer Model Derivative Relationship type Show details
<R165> Damien Bonnec <335> Quare fremuerunt gentes <336> Missa Quare fremuerunt gentes: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

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

Remarks: Contratenor in the model, Primus tenor in the mass. Sermisy used only the head of the counter sogetto

<R184> Damien Bonnec <374> Quare fremuerunt gentes <375> Missa Quare fremuerunt gentes: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

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

Remarks: It's quite the same thing, we can note just few omissions and ornementations. The reduction concerns bars 21-22 of the model: there are merged in one measure in the mass (cf. bar 20).

<R192> Damien Bonnec <390> Quare fremuerunt gentes <391> Missa Quare fremuerunt gentes: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

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

Remarks: The last entry of this fuga is shorter in the mass (M6) than in the model (M7)

<R198> Damien Bonnec <402> Quare fremuerunt gentes <403> Missa Quare fremuerunt gentes: 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: False

Remarks: Two more entries (1 entry + 1 "tonal" entry) are added in anticipation in the mass.

<R199> Damien Bonnec <404> Quare fremuerunt gentes <405> Missa Quare fremuerunt gentes: 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: False

Remarks: Two more entries (1 entry + 1 "tonal" entry) are added in anticipation in the mass.

<R202> Damien Bonnec <410> Quare fremuerunt gentes <411> Missa Quare fremuerunt gentes: Kyrie 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: This ornemental soggetto seems to be an anticipation of the next section

<R206> Damien Bonnec <418> Quare fremuerunt gentes <419> Missa Quare fremuerunt gentes: Kyrie 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: This long soggetto in the mass may be a reminiscence of a counter soggetto, at the very beginning

<R162> Damien Bonnec <329> Quare fremuerunt gentes <330> Missa Quare fremuerunt gentes: 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: False

Remarks: At the beginning, B1 more in the mass

<R163> Damien Bonnec <331> Quare fremuerunt gentes <332> Missa Quare fremuerunt gentes: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

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

Remarks: Around B7 in the model and around B6 in the mass

<R166> Damien Bonnec <337> Quare fremuerunt gentes <338> Missa Quare fremuerunt gentes: 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

<R167> Damien Bonnec <339> Quare fremuerunt gentes <340> Missa Quare fremuerunt gentes: Kyrie Quotation Expand

Quotation

Exact: False

Monnayage: True

<R247> Manon Manfredi <504> Tota pulchra es <505> Missa Tota pulchra es: 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

<R251> Manon Manfredi <512> Tota pulchra es <513> Missa Tota pulchra 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: False

Remarks: L'ID du modèle devient une fugue dans la messe.

<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

<R249> Manon Manfredi <508> Tota pulchra es <509> Missa Tota pulchra es: Agnus Dei Non-mechanical transformation Expand

Non-mechanical transformation

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

<R334> Manon Manfredi <681> Tota pulchra es <682> Missa Tota pulchra 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: False

Old counter-subject transposed: False

New combination: False

Remarks: La fugue devient un simple Soggetto dans la messe.

<R218> Manon Manfredi <442> Tota pulchra es <443> Missa Tota pulchra es: Kyrie Quotation Expand

Quotation

Exact: True

Monnayage: False

<R339> Manon Manfredi <691> Tota pulchra es <692> Missa Tota pulchra 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

Remarks: Amplified dans la forme: modèle fugue à 5 entrées, 7 dans la messe.

<R340> Manon Manfredi <693> Tota pulchra es <694> Missa Tota pulchra 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

<R341> Manon Manfredi <695> Tota pulchra es <696> Missa Tota pulchra 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

Remarks: La fugue est répétée deux fois. superius transposé