This essay lists and briefly discusses a number of sixteenth-century works, which incorporate borrowed material. Meier sometimes only indicates the origins of the borrowed material and sometimes also refers to its meaning. The examples are loosely grouped into two categories, those quoting Gregorian chant and those quoting other composers and Cypriano de Rore in particular. Composers do not borrow only from closely-related works or works in the same genre; a common word may be reason enough for quotation. The quoted passage can also be transposed to another mode, which changes the arrangement of the half and whole steps, but leaves the passage still recognizable. Quotation in the sixteenth century reflects the "learned" character of the music and shows in the case of the Gregorian melodies how familiar they still were.

Works: Josquin: Miserere mei Deus (1), Vultum tuum deprecabuntur (2); Senfl: Miserere mei Deus (1); Lassus: Psalmus Poenitentialis, No. 4 (1), Pater Abraham (2), Venite ad me (2), five-part Lamentations, No. 1 (2), Nunc gaudere licet (3), Fertur in conviviis/Vinus, vina, vinum (3), Donec malos angelos/Venientes cernant, /Cantantes his non fore/Requiem aeternam (3), Il estoit une religieuse (3), Octo beatitudines (8); Clemens non Papa: Nunc dimittis servum tuum Domine (1), Discite a me (2); Susato: Salve Antverpia, gemma, flos, venustas Europea (3); Rore: Concordes adhibete animos (3); Barbigant or Ockeghem: Au travail suis (3); Striggio: Anchor ch'io possa dire (4); Vespa: Anchor che la partita (4, 6); Caracciolo: Anchor che gran dolore (4); Ingegneri: Lasso che nel partire (4), Come la notte (7); Andrea Gabrieli: A caso un giorno (4); Portinaro: Vergine bella (4), Il dì s'appressa (4); Rossetto: Hor che'l ciel e la terra (5), Lasso che mal accorto (6); Chamaterï: Hor che'l ciel e la terra (5), Deh hor foss'io (7); de Monte: Fu forse un tempo (6); Animuccia: Alla dolc'ombra (6); Wert: Lasso che mal accorto (6); Merulo: Come la notte (7); Palestrina: Deh hor foss'io (7); Pordenon: Deh hor foss'io (7), Gravi pene (8); Paien: Gravi pene (8); Guami: Gravi pene (8), A la dolce ombra de la nobil pianta (10); Lechner: O Tod du bist ein bittre Gallen (8); Lupacchino: Onde tolse amor (8); Asola: Vergine bella (10), Vergine in cui (10).

Index Classifications: 1500s

Contributed by: Andreas Giger