|Source title||Fantasia sobre vn benedictus de la misa de Mouton tua est potentia del final. Septimo tono. Segundo grado.|
|Title in contents||Fantasia en el tercero grado remedando de la mitad adelante a vn benedictus de la misa de Mouton tua est potentia.|
Fantasia type Par
Length (compases) 89
Rubric: “Fantasia on a Benedictus from the Missa Tua est potentia by Mouton, from the end. Mode 7. Second level [of difficulty].” The table of contents adds that it “imitates a Benedictus from halfway onwards”
It is a straightforward short work of 89 compases. The parody is executed similarly to Mudarra’s glosas, that is, by inserting a passage of borrowed material into the middle of Valderrábano’s freely invented music. It begins with 3 voices making four entries of Mouton’s 1st theme, with note values diminished by half, that is. pseudo four-part polyphony within the three-part writing (the 3rd entry doesn’t accord spacially with model, others do).
Then it proceeds with free polyphony to c. 43 where the original music dovetails into an intabulation of 2nd half of parody work, that is, from bar 23 of the modern edition of the Benedictus. The Mouton Benedictus is 46 bars in length. Parody of the last 23 of 46 bars = 1/2. In the tablature this starts at c. 43 of 89, again approx. from the half way point. It shows a conscious concern by Valderrabano to imitate the exact ratios of the model’s formal structure. There seems to be no apparent reason why Valderrábano might have chosen this section to use for his fantasia.
Mouton, Jean. Opera omnia. Edited by Andreas C. Minor. 5 Volumes, Corpus Mensurabilis Musicae 43. [N.p.]: American Institute of Musicology, 1967-2014.
Attaingnant, Pierre (ed.). Secundus liber tres missas continet. Paris: Attaingnant, 1532