Leonid Desyatnikov arranged Astor Piazzolla\u27s Las Cuatro Estaciones Portenas for violin and string orchestra, interspersing quotations from Vivaldi\u27s Four Seasons throughout the new work. My score-based analysis of the arrangement investigates Desyatnikov\u27s borrowing practice and connects his compositional techniques to musicological meanings. In addition to identifying levels of contrast value between the quotation and the surrounding arrangement, I examine alterations to the original content and context of the quotations and determine whether Desyatnikov maintains or transforms the quotations\u27 identities. I combine identity and contrast value into an interpretive model of musical interaction, providing a more nuanced exploration of musical dominance
