While searching some musical examples for the paper I’m reading tomorrow about Cipriano de Rore, it was very nice to find the Kyrie from Philippe de Monte’s Missa Anchor che col partire, a parody mass based on the famous chanson with the same incipit by Cipriano de Rore.
Monte’s mass maintains the same texture (SATB) and mode of the model in which it is based on. From the analysis of this Kyrie, we immediately identify the use of the motivic material of all the voices in the opening “Kyrie eleison”. The superius repeats the first motive two times, which only appears on bar 6 of the superius and bassus.
Of the masses I worked of Portuguese composers, I have not found any use of the whole texture of the model in the first Kyrie. Composers usually used the first motive (that appears in the beginnings of the other movements) and another motive, in most cases, from their own invention. From this simple example I can understand that in 50/60 years (from the mid-16th century to early-17th century) the view towards parody had changed quite considerably, shifting from a systematic incorporation of motivic material – even whole textures – from the models in the beginnings of the masses, towards a more thin relation with the model, with the use of only one or two motives in each point of imitation.
There are a lot of other recordings (some of them the only available until now) on the group’s YouTube channel.
The model (Cipriano de Rore, Anchor che col partire, 1547):