In the fourteenth century, composers of the isorhythmic motet often borrowed the text of a preexisting composition's refrain and stated it at the beginning and/or end of a new composition. These pieces, called motet entées, often alluded to the musical structure and melody of the model as well. Composers sometimes used these quotations as a means of paying homage to another musician. (The most notable of these motets, Ciconia's Sus un fontayne, quotes three ballads by De Caserta.) By the end of the fourteenth century, the art of quotation died out in France, both in the literary and musical realms.

Works: Anonymous: Ma dame m'a congié douné, Dame qui fust si tres bien assenée (55, 61), Je la remirey, la belle greift (60), Pour vous revëoir (61); Andrieus: Armes, amours, dames, chevalerie (58); Anthonello: Dame d'onour (59); Bossu: Jeu du Pélerin (53); Ciconia: Aler m'en veus en strange paartie (62, 66); Sus un fontayne (62-6, 68), Le ray au soleil (65, 67), Quod jacatur (67); Deschamps: Qui saroit bien que c'est d'Amour servir (58); Devise: A bon droyt (65); Vitry: En Albion de fluns environnée (56); Dufay: La belle se siet (68); Franciscus: Phiton, Phiton, beste tres venimeuse (56); Froissart: Ne quier veoir Medée ne Jason, Je puis moult bien ma dame comparer (57), Tresor amoureux, En servant armes et amours (58); Machaut: On ne porroit pen ser ne souhaidier, Jugement dou Roy de Navare, Tant com je vivray, sans meffaire (54); Taillandier: Se Dedalus an sa gaye mestrie (56-7); Trebor: En seumeillant (58). Sources: Andrieus: Armes, amours, dames, chevalerie (58); Caserta: En remirant (62), En atendant (62,64-6), De ma dolour (62, 65); De la Halle: Tant com je vivray (54); De la Mote: Dyodonas (56); Froissart: D'armes, d'amours et de moralité (58); Machaut: Li Regret Guillaume, Comte de Hainaut (54), Se je me planig, je n'en puis mais (55), De fortune me doy plaindre et loer, Phyton, le mervilleus serpent (56), Ne quier vëoir, Je puis trop bien ma dame comparer (57), Prisonnés, Je la remirey sans mesure (60), Soit tart, tempre, main et soir (61), Puis qu'en oubli sui de vous (62); Vaillants: Par maintes foys (59).

Index Classifications: 1300s

Contributed by: Dana Gorzelany-Mostak

Distinctive similarities suggest that the first movement of Mozart's Piano Sonata, K.457 was an inspiration for Beethoven's Opus 10, No. 1. Although no documentation proves Beethoven knew Mozart's Sonata, distinct parallels between the works, including their moods pathos and dramatic intensity, overall shape of primary themes, large-scale structure, and tonal planning suggest he not only knew the work of his predecessor, but also had a profound understnding of it.

Works: Beethoven: Piano Sonata, Op. 10, No. 1; Mozart: K.309, K.311, K.576 (95).

Sources: Mozart: Piano Sonata, K.457.

Index Classifications: 1700s

Contributed by: Dana Gorzelany-Mostak

Haydn's opera Acide e Galatea, composed for the wedding of Prince Esterzahy's son, was inspired by two earlier works, Gluck's Tetide, and Hasse's Alcide al Bivio, both written for the festivities surrounding the wedding of Archduke Joseph. Aware of the immense popularity of the two former works, Haydn felt obliged to create an opera that captured the same dramatic intensity and standard of magnificence. He accomplished this goal by borrowing elements of their musical style. From Alcide al Bivio he borrowed features of the melodic construction, and from Tetie the treatment of dissonance and conjunction of three contrasting ideas within a single number.

Works: Mozart: Entführung aus dem Serail (335), Idomeneo (338); Gluck: L'Invrogne Corrigi (335); Haydn: Neuer krummer Teufel (336), Symphony No. 6 ("Le Matin"), Symphony No. 7 ("Le Midi"), Symphony No. 8 ("Le Soir") (336); Gluck: Diable a Quatre (336).

Index Classifications: 1700s

Contributed by: Dana Gorzelany-Mostak

The Agnus Dei in the Cambrai m.s. Communale 1328 served as the model for the Sanctus of the Sorbonne Mass and the Sanctus of the Ivrea Mass. A close analysis of their musical relationships, including a comparison of their formal design, texture, motivic treatment and direct musical correspondences, reveals the exact order of their composition. Superior formal coherence and clarity of design suggest the Cambrai was the model that was later expanded by the composer of the Ivrea with frequent interpolations and condensed by the composer of the Sorbonne, who omits large blocks of material. Professor Schrade's (1955) contention that there is a relationship between the Gloria of the Sorbonne Mass and the Credo of the Ivrea is somewhat tenuous; however, such a relationship does exist between a Sanctus from the Apt Manuscript and a Kyrie and Patrem from the Ivrea Manuscript. Based on a comparison of the shared musical material, formal structure, and melodic complexity, one can conclude that the Patrem was either the original upon which the other two were based or it was the link between them. These two examples prove that the parody technique existed in the fourteenth century. These movements should not be considered a precursor to parody, but rather as a separate technique.

Index Classifications: 1300s

Contributed by: Dana Gorzelany-Mostak

The four-note motive found in the opening of the Jupiter Symphony (1, 7, 4, 3) is also present in several of Mozart's earlier works, including, the Credo of the F Major Missa Brevis, K.192, the Sanctus of the C Major Mass, K.257, The Bb Major Symphony, K.319, and the Divertimento, K.439b/4. Most importantly, this motive is found in the second movement of the G Minor Symphony, which was composed simultaneously alongside the Jupiter. A voice reduction reveals that the opening eight-bar period is actually an elaboration of the opening of the Jupiter. Mozart employs a similar style of borrowing in the Piano Quintet in G Minor, K.478.

Works: Mozart: Missa Brevis, K.192, C Major Mass, K.257, Bb Major Symphony, K.319, Divertimento, K.439b/4 (25), K.550 (25-26), K.551 (26), K.478 (28); Strauss: Ein Heldenleben (29); Wagner: Tristan und Isolde, Die Meistersinger (29); Mahler: Fifth Symphony (29); Brahms: C Minor Quartet, Op. 51/1, A Minor Quartet, Op. 51/2 (30).

Index Classifications: 1700s

Contributed by: Dana Gorzelany-Mostak

A comparison of Ars nova motets by De Vitry and Machaut and their contemporaries, shows they are closely related by compositional detail. Comparable external stylistic features and constructional formulae suggest a link between the works of each composer, as well as a link between the two. The features that link these works are the type a composer may borrow either from another composer or from one of his own preexisting works. Related features include color length, quantity of chant notes, and integer valor length. The application of similar compositional strategies suggests these motets were composed during the same period. Although these findings do not reveal a concrete chronology, or provide definitive answers in regards to attribution, they do suggest that the isorhythmic repertoire, pre-1365, was the output of a small group of composers who knew each others' work.

Works: Vitry: Cum/Hugo/Magister invidie (1-2, 16, 19), Tuba/In arboris/Virgo sum (1-2, 11-13, 15-16, 18, 20), O Canenda/Rex/Rex regum (2, 11, 16); Vos/Gratissima/Gaude gloriosa (2,16,19), Impudenter/Virtutibus/Alma redemptoris mater (2-3, 6, 8-9, 12-13, 16, 18), Colla/Bona/Libera me (2, 6, 16, 19), Douce/Garison/Neuma (5-6, 16), Petre/Lugentium (9, 14, 18); Machaut: Christe/Veni/Tribulatio (3-4, 14, 16), Tu qui/Plange/ Apprehende (3,16), Felix/Inviolata/Ad te suspiramus (3-4, 16), Amours/Faus/Vidi Dominum (4, 14), Bone/Bone/Bone pastor (4, 12, 14, 16, 19), Aucune/Qui/Fiat voluntas tua (5-6 16, 19-20), Tout/De souspirant/Suspiro (13-14, 16, 19), Qui es/Ha fortune/Et non est qui adjuvet (12, 16-17, 19), Hareu/Hareu/Obediens usque ad mortem (12); Ivrea/Anon.: In virtute/Decens/Clamour meus (3, 5-6, 8, 16, 18-19), Flos/Celsa/Quam magnus pontifex (6, 11-12, 16-19), Fortune/Ma doloreus/Tristis est anima mea (6, 12, 14, 16, 19), A vous/Ad te/Regnem mundi (6, 15, 16, 17, 19), Rachel/Ha fratres (6, 12, 16-19), Almifonis/Rosa (6, 12-14, 16, 20), Amer/Durement/Dolour meus (6, 12-14, 16), Se paour/Diex/Concupisco (6, 12, 14-15, 16, 19,), Zolomina/Nazerea/Ave Maria (7, 12, 16-17, 19), Trop/Par Sauvage (7, 12, 16-17, 19), L'amoureuse/En l'estat (7, 12, 15-17), Mon chant/Qui doloreus/Tristis est anima mea (7, 12, 16-17, 19), Apta/Flos/Alma redemptoris mater (8-9, 16, 19), Portio/Ida/Ante tronum (10, 16), Apollinis/In omnem terram (10, 16, 20), Tant/Bien/Cuius pulchritudinum (15-16, 19), Les Mayn/Je n'y saindrai plus (19); Et in terra (10, 16); F-Pn67/Anon.: Musicalis/Sciencie/Alleluia (6, 16); Chantilly Ms./Anon: Sub arturo/Fons/In omnem terram (10).

Sources: Vitry: Douce/Garison/Neuma (5); Anon.: In virtute/Decens/Clamour meus (3), Et in terra (10), Almifonis Ros (13), Se paour/Diex/Concupisco (6, 14-15, 16, 19).

Index Classifications: 1300s

Contributed by: Dana Gorzelany-Mostak

The presence of parody techniques in The Mass of the Sorbonne proves the practice of parody existed in the 14th century, earlier than previously thought. Identical opening material, common melodic goals, and common main tones, suggest a relationship between the Sorbonne Mass Gloria and Ivrea Credo. The presence of similar motives and staggered sequences in the Benedictus sections, and nearly identical melismas in the tenores suggests the Sorbonne Sanctus and Ivrea Sanctus are also related. The musical insertions, "Salva nos" trope, and old form of writing in the Ivrea Manuscript suggest the composer based his setting on a source that is now lost. The composer adhered to the original source but altered it enough to accommodate a text trope, which he set to a new quadruplum melody. The composer of the Sorbonne, did not use the Ivrea version, but rather parodied the primary source.

Works: Mass of Toulouse, La Messe de Besançon (13-15); Mass of Sourbonne (14-16, 18-20, 25-32, 34-36, 39).

Sources: Gloria Qui sonitu melodie (13); Kyrie Rex Angelorum (16).

Index Classifications: 1300s

Contributed by: Dana Gorzelany-Mostak