Rubric: “This fantasia is to some degree composed upon the motet by Gombert called ‘Inviolata’ and in it a proportion sign is to be found like this .3. to indicat that six semiinims are to go in each tactus (=bar), the said tactus should not be changed as the said fantasia proceeds. Mode 5. Third level [of difficulty.” The work is thus one of Valderrábano’s long parody fantasias, double the length of some of those that go before it, 155 compases.

The parody model is the five-voice motet by Gombert: Inviolata. Ward claims that there are “no more than a few motivic allusions to Gombert’s motet, though, in addition, there is a textural resemblance” (ward1953, 234). The work is basically in a free polyphonic style with several passages of diminutions, and a brief snippet in proportio tripla. Even though the model is imitative, it is dense (being a5) and ongoing; this is also true of parody. Gombert’s opening theme is briefly treated (a single quotation) in compases 77-80, and the final cadence parallels Gombert’s at end of 2a pars: O benigna. This fantasia shows broad diversity of resources. Theme 1 = incipit; 2 = opening Gombert theme.

Gombert’s motet “Inuiolata integra & casta (secunda pars: O benigna O maria)” was published in Antonio Gardano’s volume Musica excellentissimi Nicolai Gomberti (vulgo motecta quinque vocum nuncupata) […] liber primus. (Venice: Gardano, 1539) [RISM 1539/7, nº 1.]. A copy of the tenor part book is in GB-Lbl has the shelf mark K.3.b.17. and can be found online at https://repository.royalholloway.ac.uk/items/0f3f8ee8-16ea-1caf-d061-50348575b30a/1/ [accessed 20/01/2020]. A modern edition of the motet is in gombertO, vii 45