The one creative principle underpins all the works in these five concerts: they cite pre-existing works as models to imitate. But the purpose of these musical loans is antagonistic. In some cases, they are used to the noble end of paying tribute to an admired composer. The French tradition of the tombeau or the more extensive tradition of hommages are examples of this practice. In other cases, the original appears transformed, although recognisable in its essence, with the intention of a parody. An imitation in an ironic tone that is, ultimately, another way of showing admiration for a creator.