The Magnificat verses used in this piece were identified and analysed by Griffiths “The Vihuela Fantasia” [griffiths1983] 273-75 from the incomplete Magnificat in E-Tc, Libros de Polifonia No 18, fols 38˅-39. Diego Pacheco found a complete version of Magnificat in E-Vc Ms 5 and transcribed it in her dissertation on Manuscript 5 de Valladolid [diego2005] as Magnificat 5. She recognised the relationship with Valderrábano’s work, but did not see the clarity of the relationship between the model and fantasia identified by Griffiths, asserting [diego2005], vol. 2, pp. 353-354: “L’imagination créative de Valderrábano fait en sorte que la Magnificat soit reconnaissable mais non pas comparable au modèle vocale. En effet, les différences d’écriture entre les deux oeuvres sont telles qu’il faudrait parler des deux versions distinctes, et ce n’est point un hasard si Valderrábano intitule son oeuvre ‘fantasia’”. Kreitner subsequently identified the same work [kreitner2007] and gives the complete surviving version of this Magnificat as “Magnificat beta”, with a transcription from E-V, Ms 5.

Parody fantasia, based on a model whose 1st and 3rd verses only survive. Source: Toledo, Cathedral, Libros de Polifonia No 18, fols 38˅-39. Valderrábano borrows heavily from the Anima mea only in passing from the Quia Respexit:

Valderrábano Morales (A = anima ; Q = quia)
1-4 opening themes A – 1 – 2 ; (Valderrábanos 2-4 = Q 1-2)
5-12 free extra
13-20 seriatim quote A 4-7
21-30 free (on preceding)
31-39 free reworking of A 22-26
40
41-45 seriatim quote of A 14-16
46-59 imit devt.
60-78 seriatim quote of A 19-25
79-115 11 free