CRIM

Citations: The Renaissance Imitation Mass Project

Relationships

ID Observer Model Derivative Relationship type Show details
<R2501> Peter Schubert <5001> Veni sponsa Christi <5002> Missa Veni sponsa Christi: Credo Quotation Expand

Quotation

Exact: True

Monnayage: False

<R2502> Peter Schubert <5003> Veni sponsa Christi <5004> Missa Veni sponsa Christi: Credo Quotation Expand

Quotation

Exact: True

Monnayage: False

Remarks: full texture continues with next soggetto in order of motet

<R2503> Peter Schubert <5005> Veni sponsa Christi <5006> Missa Veni sponsa Christi: Credo Quotation Expand

Quotation

Exact: True

Monnayage: False

Remarks: full texture continues with next (last) soggetto in order of motet

<R2504> Peter Schubert <5007> Veni sponsa Christi <5008> Missa Veni sponsa Christi: Credo Quotation Expand

Quotation

Exact: True

Monnayage: False

Remarks: first soggetto of motet used as bass line in mass in full texture. This process continues...

<R2505> Peter Schubert <5009> Veni sponsa Christi <5010> Missa Veni sponsa Christi: Credo Quotation Expand

Quotation

Exact: True

Monnayage: False

Remarks: bass quotes next soggetto in order in motet (same process as tenor earlier)

<R2506> Peter Schubert <5011> Veni sponsa Christi <5012> Missa Veni sponsa Christi: Credo Quotation Expand

Quotation

Exact: True

Monnayage: False

Remarks: bass sounds next soggetto from motet in order, now in full texture

<R2507> Jon Oddie <5013> Mente Tota (from Vultuum tuum) <5014> Missa Mente tota: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: True

Amplified: False

Truncated: False

New counter-subject: True

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: Willaert quoted the full NIm from Josquin's motet earlier, at bb. 73-76; here, only one of the two subjects is present in full, and the cantizans cadence from the other subject has been interpolated into a new subject, which begins the next canonic phrase.

<R2508> Jon Oddie <5015> Mente Tota (from Vultuum tuum) <5016> Missa Mente tota: 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: True

Remarks: Willaert's canonic ID is based on imitation at the upper fifth; we can understand this as taking the second and third entrances from Josquin's PEn lattice and shifting the upper entrance down an octave, transforming 12+ imitation into 5+. The first note of the subject is treated in monnayage (it sets two syllables, "Et in", instead of one, "Men-")

<R2509> Jon Oddie <5017> Mente Tota (from Vultuum tuum) <5018> Missa Mente tota: 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: False

New combination: False

Remarks: This is a fairly weak relationship: these triadic motives in the free voices at the outset of Willaert's Gloria could be thought of as related to Josquin's motive for "Preces nostras", but they could also simply be seen as generic material

<R2510> Jon Oddie <5019> Mente Tota (from Vultuum tuum) <5020> Missa Mente tota: Gloria Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: True

Amplified: False

Truncated: False

New counter-subject: True

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R2511> Jon Oddie <5021> Mente Tota (from Vultuum tuum) <5022> Missa Mente tota: 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

Remarks: This is another fairly weak relationship due to the generic nature of the material and the complexity of its transformation (assuming that a relationship is in fact present). Both Josquin's subject and Willaert's begin by rising stepwise through a fifth and then descending; Josquin's subject then cadences a third above its starting note, while Willaert's continues descending to a 4th below its starting note. Willaert's rhythms are also different in the portion of the subject which is identical in contour.

<R2512> Jon Oddie <5023> Mente Tota (from Vultuum tuum) <5024> Missa Mente tota: Gloria Mechanical transformation, Non-mechanical transformation Expand

Mechanical transformation, Non-mechanical transformation

Sounding in different voice(s): False

Melodically inverted: False

Retrograde: False

Metrically shifted: False

Transposed: False

Double or invertible counterpoint: True

Embellished: True

Reduced: True

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: False

New combination: False

Remarks: Willaert's subject is both a simplification of Josquin's (eliminating its final upper-neighbor motion) and an embellishment (replacing its initial semibreve with a semibreve + a minim).

<R2513> Jon Oddie <5025> Mente Tota (from Vultuum tuum) <5026> Missa Mente tota: Gloria 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: False

New combination: False

Remarks: Where Willaert's previous reference to this Josquin subject was simpler in contour, this one is embellished. The brief IDs formed by its canonic entrances are basically new and unrelated to Josquin's modules

<R2514> Jon Oddie <5027> Mente Tota (from Vultuum tuum) <5028> Missa Mente tota: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: True

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: False

New combination: False

Remarks: The relationship between the voices of Willaert's canonic imitative duo is initially similar to that between the contratenor and discantus in Josquin's PEn: in each case the consequent enters at the point where the guide reaches its B-flat (a third above the starting G). However, Willaert's different rhythm means that the module produced is different from Josquin's.

<R2515> Jon Oddie <5029> Mente Tota (from Vultuum tuum) <5030> Missa Mente tota: 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: Another fairly weak relationship: it may be coincidental that Willaert repeatedly uses ascending triadic motives similar in outline to Josquin's "Preces nostras" motive

<R2516> Jon Oddie <5031> Mente Tota (from Vultuum tuum) <5032> Missa Mente tota: Credo 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

Remarks: This seems to be a paraphrase of Josquin's opening subject, with some of the internal notes elided and a different ending tacked on. Only the portions of Josquin's subject which are present in Willaert's version are highlighted. Once again the consequent in Willaert enters, relative to the guide, at a point analogous to the discantus entrance in Josquin (relative to the contratenor); and once again the counterpoint is mostly different from Josquin's, because of Willaert's different rhythm and continuation of the borrowed material.

<R2517> Jon Oddie <5033> Mente Tota (from Vultuum tuum) <5034> Missa Mente tota: Credo Mechanical transformation, Non-mechanical transformation Expand

Mechanical transformation, Non-mechanical transformation

Sounding in different voice(s): False

Melodically inverted: False

Retrograde: False

Metrically shifted: False

Transposed: False

Double or invertible counterpoint: True

Embellished: False

Reduced: False

Amplified: True

Truncated: True

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: True

Remarks: This is a fairly intricate borrowing. Josquin's original consists of a repeated NIm. Both subjects of the NIm begin with a common head-motive, X, so the upper voice's subject can be symbolised as XY and the lower voice's as XZ. Willaert's canonic subject then has the structure YXZ(N)XZ, with (N) symbolizing new material. The first two canonic entrances produce an ID in which YXZ combines in fuga with itself, a new combination not heard in Josquin; this is, of course, repeated exactly by the later two canonic entrances. In addition, Willaert introduces additional entrances of motive Z in the free voices of bb. 138ff., replicating the latter half of Josquin's NIm (Y+Z). Finally, Willaert also contrives the canon so that the XZ tail of the first two canonic entrances overlaps with the Y motive at the beginning of the later two canonic entrances, producing two more presentations of the (Y+Z) NIm. Two notes of Josquin's motive Y are omitted from Willaert (A-A-Bb replaces F-G-A-Bb), and the joint between motives X and Z is altered. Willaert's first two NIm presentations have the subjects moved an octave closer together compared to Josquin, but the latter two presentations have them in their original relationship.

<R2518> Jon Oddie <5035> Missa Mente tota: Credo <5036> Missa Mente tota: Gloria Quotation Expand

Quotation

Exact: True

Monnayage: False

Remarks: This head-motive consisting of a rising fourth followed by upper-neighbor motino does not come from Josquin as far as I can tell, but it seemingly serves as a unifying feature connecting different movements of Willaert's mass.

<R2519> Jon Oddie <5037> Mente Tota (from Vultuum tuum) <5038> Missa Mente tota: Sanctus 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

Remarks: Willaert's subject compresses the first 4 breve-bars of Josquin's into 2 breve-bars. The module in Willaert's IDs is basically that formed between bassus and discantus in bb. 7-9 of Josquin, lightly ornamented.

<R2520> Jon Oddie <5039> Mente Tota (from Vultuum tuum) <5040> Missa Mente tota: 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: Willaert has significantly altered the contour of the second borrowed phrase, presumably in order to make it possible to bring it into canon. (Neither borrowed idea interlocks in significant fuga in Josquin).

<R2521> Jon Oddie <5041> Mente Tota (from Vultuum tuum) <5042> Missa Mente tota: Sanctus 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

<R2522> Jon Oddie <5043> Mente Tota (from Vultuum tuum) <5044> Missa Mente tota: Agnus Dei 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: False

New combination: False

Remarks: Willaert rhythmicises the borrowed soggetto differently here from in other movements, in order to form it into denser fuga. Also, he seemingly borrows a little more material from Josquin than in other movements: the tail of Willaert's subject resembles an ornamentation of the bassus in bb. 10-13 of Josquin

<R2523> Jon Oddie <5045> Mente Tota (from Vultuum tuum) <5046> Missa Mente tota: Agnus Dei Mechanical transformation, Non-mechanical transformation Expand

Mechanical transformation, Non-mechanical transformation

Sounding in different voice(s): False

Melodically inverted: False

Retrograde: False

Metrically shifted: True

Transposed: False

Double or invertible counterpoint: 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

Remarks: The two motives are spliced together more closely in Willaert than in Josquin (hence "reduced") and brought into closer, interlocking fuga

<R2524> Jon Oddie <5047> Mente Tota (from Vultuum tuum) <5048> Missa Mente tota: Agnus Dei 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

Remarks: Soggetto from Josquin embellished and formed into closer, interlocking fuga

<R2525> Jon Oddie <5049> Mente Tota (from Vultuum tuum) <5050> Missa Mente tota: Agnus Dei 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

Remarks: Soggetto from Josquin embellished and formed into closer, interlocking fuga

<R2526> Jon Oddie <5051> Mente Tota (from Vultuum tuum) <5052> Missa Mente tota: 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: True

New combination: False

Remarks: Willaert's entrances begin in the same temporal relationship as Josquin's, but his use of a different interval of imitation (5- instead of 5+) and the substantial ornamentation applied to the latter half of the subject mean that his modules have little in common with Josquin's. However, both passages share the principle of a sequence within the fuga where successive motivic entrances within each voice begin a third lower each time.

<R2527> Jon Oddie <5053> Mente Tota (from Vultuum tuum) <5054> Missa Mente tota: 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: True

<R2528> Jon Oddie <5055> Mente Tota (from Vultuum tuum) <5056> Missa Mente tota: 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: True

<R2529> Richard Freedman <1057> Je suis déshéritée <1058> Missa Je suis déshéritée: 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

<R2530> Richard Freedman <1059> Je suis déshéritée <1060> Missa Je suis déshéritée: 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

<R2531> Richard Freedman <1061> Je suis déshéritée <1062> Missa Je suis déshéritée: Gloria 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

<R2532> Richard Freedman <1063> Je suis déshéritée <1064> Missa Je suis déshéritée: 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

<R2533> Richard Freedman <1065> Je suis déshéritée <1066> Missa Je suis déshéritée: Gloria 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

<R2534> Richard Freedman <1067> Je suis déshéritée <1068> Missa Je suis déshéritée: Gloria 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

<R2535> Richard Freedman <1069> Je suis déshéritée <1070> Missa Je suis déshéritée: Gloria Quotation Expand

Quotation

Exact: False

Monnayage: True

<R2536> Richard Freedman <1071> Je suis déshéritée <1072> Missa Je suis déshéritée: Gloria Quotation Expand

Quotation

Exact: False

Monnayage: True

<R2537> Richard Freedman <1073> Tota pulchra es <1074> Missa Tota pulchra 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: False

<R2538> Richard Freedman <1075> Tota pulchra es <1076> Missa Tota pulchra es: Sanctus New material Expand

New material

<R2539> Richard Freedman <1077> Tota pulchra es <1078> Missa Tota pulchra 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

<R2540> Richard Freedman <1079> Tota pulchra es <1080> Missa Tota pulchra 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

<R2541> Richard Freedman <1081> Mente Tota (from Vultuum tuum) <1082> Missa Mente tota: 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

<R2542> Richard Freedman <1083> Mente Tota (from Vultuum tuum) <1084> Missa Mente tota: 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

<R2543> Richard Freedman <1085> Mente Tota (from Vultuum tuum) <1086> Missa Mente tota: 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: True

New combination: False

<R2544> Richard Freedman <1087> Mente Tota (from Vultuum tuum) <1088> Missa Mente tota: Kyrie 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

<R2545> Richard Freedman <1089> Mente Tota (from Vultuum tuum) <1090> Missa Mente tota: Kyrie 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

<R2546> Richard Freedman <1091> Mente Tota (from Vultuum tuum) <1092> Missa Mente tota: 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

<R2547> Richard Freedman <1093> Mente Tota (from Vultuum tuum) <1094> Missa Mente tota: 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

<R2548> Richard Freedman <1095> Mente Tota (from Vultuum tuum) <1096> Missa Mente tota: 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

<R2549> Richard Freedman <1097> Mente Tota (from Vultuum tuum) <1098> Missa Mente tota: 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

<R2550> Richard Freedman <1099> Mente Tota (from Vultuum tuum) <1100> Missa Mente tota: Kyrie None Expand

Relationship

<R2551> Richard Freedman <1101> Tota pulchra es <1102> Missa Tota pulchra es: Sanctus None Expand

Relationship

<R2552> Richard Freedman <1107> Tota pulchra es <1108> Missa Tota pulchra es: Sanctus Quotation Expand

Quotation

Exact: True

Monnayage: False

<R2553> Richard Freedman <1109> Tota pulchra es <1110> Missa Tota pulchra es: Sanctus New material Expand

New material

<R2554> Richard Freedman <1111> Susanne un jour <1112> Missa Susanne un jour: 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

<R2555> Richard Freedman <1113> Baisez moy <1114> Tota pulchra es 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

<R2556> Richard Freedman <1115> Baisez moy <1116> Tota pulchra es Quotation Expand

Quotation

Exact: False

Monnayage: True

Remarks: Févin's tenor mainly follows the tenor of the motet, as we also heard in Credo @ 258 and following. The Hosannah section of the Sanctus is often set in triple mensuration, which might help explain why Févin here looks to this passage of the motet, which is also in triple mensuration.

<R2557> Richard Freedman <1117> Susanne un jour <1118> Missa Susanne un jour: Credo New material Expand

New material

<R2558> Richard Freedman <1119> Susanne un jour <1120> Missa Susanne un jour: Credo 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

<R2559> Richard Freedman <1121> Susanne un jour <1123> Susanne un jour 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: There is also a new CS in the altus.

<R2560> Richard Freedman <1122> Missa Susanne un jour: Credo <1124> Missa Susanne un jour: Credo Quotation Expand

Quotation

Exact: False

Monnayage: True

<R2561> Richard Freedman <1125> O gente brunette <1126> Missa O gente brunette: Kyrie New material Expand

New material

<R2562> Richard Freedman <1127> Mente Tota (from Vultuum tuum) <1128> Missa Mente tota: Gloria New material Expand

New material

<R2563> Richard Freedman <1129> Susanne un jour <1130> Missa Susanne un jour: Credo New material Expand

New material

<R2564> Richard Freedman <1131> Susanne un jour <1132> Missa Susanne un jour: Credo New material Expand

New material

<R2565> Richard Freedman <1133> Susanne un jour <1134> Missa Susanne un jour: Credo New material Expand

New material

<R2566> Richard Freedman <1135> O gente brunette <1136> Missa O gente brunette: 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

<R2567> Richard Freedman <1137> O gente brunette <1138> Missa O gente brunette: Kyrie New material Expand

New material

<R2568> Richard Freedman <1139> Susanne un jour <1140> Missa Susanne un jour: Credo None Expand

Relationship

Remarks: Févin here amplifies the original by adding a contrapuntal duo as a kind of interlude in 35-39. It follows on the Phyrgian Cadence to E in m. 35, overlapping with the end of NIM in 38-40 of the Gloria and forming its own cadence to G in m. 40

<R2569> Richard Freedman <1141> O gente brunette <1142> Missa O gente brunette: Kyrie New material Expand

New material

<R2570> Richard Freedman <1143> O gente brunette <1144> Missa O gente brunette: Kyrie Quotation Expand

Quotation

Exact: False

Monnayage: True

<R2571> Richard Freedman <1145> O gente brunette <1146> Missa O gente brunette: 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

Remarks: In the motet, text representation as 'heaven and earth are filled', via sequential repetition up to cadence on C. In the Gloria of the Mass: the NIM's amplify "Iesu Christe" through repetition, but they don't 'represent' it, followed by a plagal cadence to G. Also note: this same music is heard in Credo at 219.

<R2572> Richard Freedman <1147> O gente brunette <1148> Missa O gente brunette: 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

Remarks: In the motet, text representation as 'heaven and earth are filled', via sequential repetition up to cadence on C. In the Gloria of the Mass: the NIM's amplify "Iesu Christe" through repetition, but they don't 'represent' it, followed by a plagal cadence to G. Also note: this same music is heard in Credo at 219.

<R2573> Richard Freedman <1149> O gente brunette <1150> Missa O gente brunette: 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

<R2574> Richard Freedman <1151> O gente brunette <1152> Missa O gente brunette: 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: False

New combination: False

Remarks: New Mass section nevertheless repeats soggetto and musical type from just before the plagal cadence in bar 63, then arrives at a new cadence S/T>G in bar 72. What was a full texture in those earlier bars is now just a2.

<R2575> Richard Freedman <1153> O gente brunette <1154> Missa O gente brunette: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: False

Truncated: True

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R2576> Richard Freedman <1155> Vidi speciosam <1156> Missa Vidi speciosam: Agnus Dei Omission Expand

Omission

<R2577> Richard Freedman <1157> Vidi speciosam <1158> Missa Vidi speciosam: Agnus Dei Quotation Expand

Quotation

Exact: False

Monnayage: True

<R2578> Richard Freedman <1159> Vidi speciosam <1160> Missa Vidi speciosam: Agnus Dei 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

<R2579> Richard Freedman <1161> O gente brunette <1162> Missa O gente brunette: 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: False

Remarks: The second module of the NIM in the Gloria is really only the top voice only. But the closing cadence matches that of the NIM in the motet.

<R2580> Richard Freedman <1163> O gente brunette <1164> Missa O gente brunette: 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

Remarks: The 'Cum sancto' section of the Gloria is often set in triple mensuration. Here Févin (reasonably) joins that to the triple mensuration section of the motet, jumping back in order to do so.

<R2581> Richard Freedman <1165> O gente brunette <1166> Missa O gente brunette: Sanctus Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: True

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R2582> Richard Freedman <1167> Susanne un jour <1168> Missa Susanne un jour: 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

<R2583> Richard Freedman <1169> O gente brunette <1170> Missa O gente brunette: 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

<R2584> Richard Freedman <1171> Susanne un jour <1172> Missa Susanne un jour: 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

<R2585> Richard Freedman <1173> Susanne un jour <1174> Missa Susanne un jour: 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

<R2586> Richard Freedman <1175> Susanne un jour <1176> Missa Susanne un jour: 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

<R2587> Richard Freedman <1177> Baisez moy <1178> Missa Baisez moy: Kyrie Quotation Expand

Quotation

Exact: True

Monnayage: False

<R2588> Richard Freedman <1179> Baisez moy <1180> Missa Baisez moy: 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

<R2589> Richard Freedman <1181> Baisez moy <1182> Missa Baisez moy: 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: True

New combination: False

Remarks: The Altus of Josquin is transposed as S of Févin, resulting in high texture for Passus et sepultus est, which thus 'descends'. Fevin jumped ahead for this after much New Material

<R2590> Richard Freedman <1183> Baisez moy <1184> Missa Baisez moy: 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: The Mass also has a singleton added entry in the Tenor at m. 176ff.

<R2591> Richard Freedman <1185> Baisez moy <1186> Missa Baisez moy: 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

<R2592> Richard Freedman <1187> Quare fremuerunt gentes <1188> 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: True

<R2593> Richard Freedman <1189> Quare fremuerunt gentes <1190> Missa Quare fremuerunt gentes: Gloria 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

Remarks: The lower voice of the NIM in the Credo resembles that of the NIM in the motet at 78. But the cadences are those of the earlier NIM in the motet. And: the material that follows this in the Credo comes from the phrases just after the earlier NIM. So here Févin returns to some early portion of the motet.

<R2594> Richard Freedman <1191> Quare fremuerunt gentes <1192> Missa Quare fremuerunt gentes: Gloria 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

Remarks: The cadence is different: it is plagal in the motet, but authentic in the Mass.

<R2595> Richard Freedman <1197> Quare fremuerunt gentes <1198> Missa Quare fremuerunt gentes: 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: False

New combination: False

Remarks: This same transformation is heard in the Gloria at measures 52ff.

<R2596> Richard Freedman <1195> Quare fremuerunt gentes <1196> Missa Quare fremuerunt gentes: Gloria Quotation Expand

Quotation

Exact: False

Monnayage: True

Remarks: There is also some internal motivic repetition as part of the re-use of Josquin's tenor.

<R2597> Richard Freedman <5057> Ave Maria <5058> Missa Ave Maria: 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

<R2598> Richard Freedman <5059> Ave Maria <5060> Missa Ave Maria: 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

<R2599> Richard Freedman <5061> Ave Maria <5062> Missa Ave Maria: 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

<R2600> Richard Freedman <5063> Ave Maria <5064> Missa Ave Maria: 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