CRIM

Citations: The Renaissance Imitation Mass Project

Relationships

ID Observer Model Derivative Relationship type Show details
<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.

<R99> Max Le Mée <201> Vidi speciosam <202> Missa Vidi speciosam: Credo New material Expand

New material

Remarks: The ID is truncated to only one duo. The cadence on D is New Material.

<R100> Max Le Mée <203> Vidi speciosam <204> 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: The fuga becomes an ID, is it a truncation, a new combination?... The Mechanical Transformation is for the CAD.

<R101> Max Le Mée <205> Vidi speciosam <206> Missa Vidi speciosam: Credo 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: A soggetto that we find back several pages before. It is reused on 'et resurexit'. It is probably far-fetched, but we can consider that Sohier makes a figuralism by 'resuscitating' an old soggetto... I assess a reduction, for I do not know what else I could assess...

<R102> Max Le Mée <207> Vidi speciosam <208> Missa Vidi speciosam: Credo 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: True

Remarks: It looks like Sohier has reduced a former soggetto to turn it into a new soggetto, and built a fuga from it.

<R150> Max Le Mée <305> Vidi speciosam <306> 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

<R107> Max Le Mée <217> Vidi speciosam <218> 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 also indicate a truncation for all the fuga accompanying the Duo in the model is not present in the mass.

<R152> Max Le Mée <309> Vidi speciosam <310> 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

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

Quotation

Exact: True

Monnayage: 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.

<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...

<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

<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

<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.

<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').

<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...

<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...

<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

<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