Dick Hoban communicated to me the parody relationship (19.09.96): “A close comparison of Francesco's fantasia #65 and Valderrabano's fantasia #13 will demonstrate that the former was a significant source for musical material parodied in the latter. Valderrabano quotes Francesco's work no less than six times and uses the quoted musical material in the exact sequence in which it is found in the model. In one instance, the quote runs for 8 bars with the average being 4 bars. Frequently, the quotes run note for note. The effect of his extensive and sequential use of the source musical material gives the impression that Valderrabano was tightening the development of Francesco's fantasia structure. The quoted material is all found in the first half of Francesco's fantasia.
The quoted musical relationships are outlined below:
Francesco #65 Valderrabano #13
total bars: 149 total bars: 79
bar 11-18 8 bar 32-39 8
bar 20-24 5 bar 41-45 5
bar 35-39 4 bar 48-53 6
bar 41-45 5 bar 55-58 4
bar 52-56 5 bar 63-66 4
bar 60-62 3 bar 68-70 3

total quoted: 30 bars

Polythematic, imitative, short 79 compases, with characteristic lack of polyphonic rigour. Charming, rapid, but rather facile, beginning with 2 voice canon of theme 1, then freeish counterpoint with several statements of 2 interwoven with varying degree of rigour but filling in to Valderrábano’s melodious free textured style. From 42 he introduces various motives emphasizing upward motion in Seminima values, particularly in lower part. At 63 he reintroduces 2 which is canonically treated till 70, where a classic example of the “Valderrabano long arch” forms the cadence.
Recurrence of 2, and similarity throughout shows total unity of concept. Uses stockpile melodies.