Jachet de Mantua

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Jachet de Mantua (* 1483 in Vitré ( Bretagne ), † October 2, 1559 in Mantua ) was a Franco-Flemish composer , singer and bandmaster of the Renaissance .

Live and act

After Jachet de Mantua always only signed his works with his first name and this is a diminutive of "Jacques", because of the frequency of the name there was already confusion in the 16th century with other composers with the same and similar names, especially Jacquet de Berchem , but also with lesser known ones like Giaches Brunel or Jacques du Pont. Such similarities of names have made music history research difficult until recently, especially the clear attribution of compositions. His family name , which has been handed down elsewhere , was Colebault , which gave rise to speculations that he could have been related to the singer Antoine Colebault, who was highly regarded at the time. But there is no evidence for this.

No information has been passed on about the family of origin and the training period of Jachet de Mantua. He seems to have gone to Italy at a relatively young age because there is evidence that he was in the service of the ducal family d'Este in Ferrara in 1516, 1524 and 1525 as "Iachetto cantore" and from 1519 to 1520 as "maestro Giachetto cantor" Belonged to the Rangoni family in Modena . It is also believed that in Ferrara in 1525 a closer friendly relationship with Adrian Willaert , the founder of the Venetian school, developed. As early as 1520, Jachet was well known as a composer because some of his works were already widespread in northern Italy. The first evidence of his activity in Mantua is the documentary evidence of the death of "Polonia, wife of the cantor Jachet", according to which he must have lived in Mantua for some time. He was only granted citizenship there on April 20, 1534. Previously, papal payments to “Jacquet cantore” between 1530 and 1532 indicate that the composer stayed in Rome ; also be held Cardinal Ercole Gonzaga (1505-1563), his future employer, this time mainly in Rome. In addition, a certain "Jacquet" was a member of the papal chapel from 1531 to 1532; however, music historians admit that this could also have been Jacques du Pont.

The well-documented last phase of the composer's life in Mantua begins with his appointment as Magister of the Kapellknaben at the Cathedral of St. Peter and Paul and Kapellmeister at the same church from 1535 at the latest; He not only dominated the city's musical life, but was also one of the leading composers beyond national borders. In Mantua he had a special position through his direct subordination to the cardinal. His fame was based on numerous publications of his works, with the result that many contemporary authors dealt with his work in their writings. These include the music theorist Giovanni Maria Artusi (around 1540–1613), the humanist Cosimo Bartoli (1503–1572), the composer Juan Bermudo (around 1510– around 1565), the playwright Andrea Calmo (1510–1571), the music theorist Pietro Domenico Cerone (1566–1625), the author Pietro Cinciarino (* around 1510), the music theorist Adrianus Petit Coclico (1499 / 1500–1562), the music theorist Giovanni Del Lago (around 1490–1544), the music writer Antonio Francesco Doni (1513– 1574), the poet Teofilo Folengo (around 1496–1544), the music theorist Silvestro Ganassi dal Fontego (* 1492), the music theorist Giovanni Maria Lanfranco (around 1490–1545), the church musician and music theorist Pietro Ponti (1532–1595), the Composer Matteo Rampollini (1497– around 1553), the poet Pierre de Ronsard (1524–1585) and the music theorist Stefano Vanneo (around 1493– around 1540). Jachet de Mantua retired in 1558. The following year he died in Mantua; Cardinal Ercole granted his family a pension.

meaning

Jachet de Mantua has 23 masses , more than 100 motets , many of them for state occasions, 3 magnificats , as well as hymns and Vespers psalms and 3 secular works. He can be considered one of the most important creators of sacred music in the generation after Josquin . In contrast to Nicolas Gombert and Adrian Willaert, in most of his works he wrote an exemplary and inventive composition using the compositional techniques of his time, which at most shows individual traits in detail, making him particularly close to the stylistic ideal of an ingenious balance in the mid-16th century comes. He used sometimes unusual imitation techniques , is reserved in his contrast effects and shows his superior mastery of canon techniques with only a few examples. In the harmony of his works clarity and precision can be recognized. In spite of all contrapuntal mastery, they show a catchy melody that is vocal in all voices, with special attention to the word accent.

Most of the composer's masses are parody masses on sacred as well as secular models, in which the high proportion of motets by Jean Mouton is noticeable. In some cases, the templates are very decisive, for example at the “Si bona suscepimus”, “In die tribulationis” or “Surge Petre” masses; in other masses the composer goes over to an independent examination of the melodic material of the original, for example in the masses “Rex Babylonis” or “Peccata mea”. The fairs “Chiare dolci e fresche acque”, “Alla dolce ombra” and “Vado ad eum”, in which Jachet spins out motifs and sections widely, varies them and contrasts his own themes, show a particularly independent approach to the respective template. His fairs “Hercules dux Ferrariae” and “Ferdinandus dux Calabriae”, on the other hand, are based on Josquin's fairs.

The extensive collection of motets by Jachet de Mantua expresses the variable purpose and the artistic independence of this musical genre on the eve of the liturgical reform of the Council of Trent . Three quarters of the motet texts come from the liturgy or are freely liturgical, while the rest are based on biblical texts or are of non-church origin. The motets are initially four-part, from his time in Mantua then five-part according to the artistic trend of the time. Two of the secular motets deserve special mention: "Dum vastos Adriae" as a particularly demanding compositional example of the Josquin worship around the middle of the 16th century and "Enceladi Coeique soror" as an unusual homage to the Gonzaga family's horse-keeping, an equivalent to the Sala dei Cavalli in the Mantuan Palazzo del Tè by the Mannerist painter and architect Giulio Romano . In the last years of his life, Jachet de Mantua turned to a strictly liturgical repertoire of hymns and psalms, a genre that is characterized by stylistic restraint and emphatically conservative features such as Fauxbourdon , canon and cantus firmus techniques ; this probably happened with a view to the opposition to polyphony of certain circles of the Council of Trent, but also to the expectation of his employer to the papal throne. This does not yet include the double-choir psalms that were written in collaboration with Willaert.

Works

Complete edition: Jacquet of Mantua. Opera omnia , edited by PT Jackson and G. Nugent, 6 volumes, without a location, 1971–1986 (= Corpus mensurabilis musicae No. 54, I – VI); therein Volumes 1, 3 and 6: Masses, Volume 2: Vespers Hymns, Volumes 4-5: Motets.

  • Custom prints from trade fairs
    • "Il primo libro de le messe a cinque voci", Venice 1554
    • "Missa [...] ad imitationem moteti quam pulchra es", Paris 1554
    • "Missa ad imitationem moduli Surge Petre", Paris 1557
    • “Messe del fiore, a cinque voci, libro primo”, Venice 1561
    • “Messe del fiore, a cinque voci, libro secondo”, Venice 1561
  • Individual trade fairs (alphabetically)
    • Missa “Accesserunt ad Jherusalem” with five voices
    • Missa “Acquiesce Domine” with five voices, on its own motet
    • Missa “Alla dolce ombra” with five voices, on a madrigal by Cipriano de Rore
    • Missa “Altro non è il mio amor” with five voices, on a madrigal by Philippe Verdelot
    • Missa "Alvos nos" to six votes (lost)
    • Missa “Anchor che col partire” with five voices, on a madrigal by Cipriano de Rore
    • Missa “Ave fuit prima salus” with four voices, on a motet by Jean Mouton
    • Missa “Chiare dolci e fresche acque” with five voices, on a madrigal by Jacobus Arcadelt
    • Missa “De mon triste deplaisir” with four voices, about a chanson by Jean Richafort
    • Missa “Deus misereatur” with five voices, on a motet by Claudin de Sermisy
    • Missa “Enceladi Coeique soror” with five voices, on its own motet
    • Missa “Ferdinandus dux Calabriae” with five voices
    • Missa “In die tribulationis” with five voices, on its own motet
    • Missa “In illo tempore” with four voices, on a motet by Jean Mouton
    • Missa “La fede non debbe esser corrotta” with five voices
    • Missa “La sol fa re mi” with five voices
    • Missa “Peccata mea” with five voices, on a motet by Jean Mouton
    • Missa quarti toni to five voices
    • Missa "Quam pulchra es" to four voices, on a motet by Jean Mouton (also as an individual print)
    • Missa “Rex Babylonis” with five voices, on its own motet
    • Missa “Si bona suscepimus” with five voices, on a motet by Philippe Verdelot
    • Missa “Surge Petre” with six voices, on its own motet
    • Missa “Vado ad eum” with five voices, on a motet by Cipriano de Rore
    • two other fairs, Santa Barbara 156
  • Individual prints of motets
    • “Motecta quinque vocum […] liber primus”, Venice 1539, expanded in 1540 and 1565
    • “Motecta quatuor vocum […] liber primus”, Venice 1539 and 1544, expanded in 1545, 1554 and 1565
  • Spiritual motets (alphabetical)
    • “Acquiesce Domine” to five votes
    • “Adonai Domine Deus” to four votes
    • “Alleluia surrexi Dominus” for four voices
    • “Alma redemptoris mater” to five votes
    • “Aspice Domine quia facta est” to five votes
    • “Assumpta est Maria” to five votes
    • “Audi dulcis amica mea” with four votes
    • “Ave apertor caelorum” with five voices
    • “Ave Maria alta stirps” to five voices
    • “Ave Maria gratia plena” with three votes
    • “Ave Maria gratia plena” with five votes
    • “Ave mater matris Dei” to five voices
    • “Ave quam colunt angeli” to five voices
    • “Ave regina caelorum” to five voices
    • “Ave regina caelorum” with six voices
    • “Ave virgo gratiosa” with six votes
    • “Caelorum candor splenduit” to four voices
    • “Caligaverunt oculi mei” to five votes
    • “Cantantibus organis” with four voices
    • “Cantate Domino […] laus ejus” for three voices
    • “Cantate Domino […] quia mirabilia” for three voices
    • “Cantate Domino” for four voices
    • “Cantate Domino et benedicite” with three voices
    • “Confirmatum est cor” to five votes
    • “Decantabat populus” with five voices
    • “Descendi in hortum meum” with six voices
    • “Divitias et paupertatem” with six votes
    • “Dixit autem Dominus servo” to five voices
    • “Domine bonum est” to four votes
    • “Domine exaudi orationem meam” with five voices
    • “Domine non secundum peccata nostra” with six voices
    • “Domine secundum acutum meum” with five voices
    • “Ecclesiam tuam Deus” to four votes
    • “Emendemus in melius” to five voices
    • “Estote fortes in bello” to five votes
    • “Fratres ego enim accepi” with four voices
    • “Gaudeamus omnes in dominoes” to five voices
    • “Genuit puerpera regem” to four voices
    • "Haec dies" to five votes
    • “Inclita sanctae virginis” to five votes
    • "In die tribulationis" with five votes
    • “In Domino confido” to four voices
    • “Ingresso Zacharia” to five votes
    • “In illo tempore erat” to four votes
    • “In illo tempore […] modicum” with four voices
    • “In illo tempore […] non turbetur” with five voices
    • “In illo tempore stabant” to four voices
    • “In lectulo meo” to three votes
    • “In te domine speravi” to five votes
    • “In tua patientia” to four votes
    • "Iste est discipulus" to five votes
    • “Isti sunt dies” to four votes
    • “Laudate Dominum” with five votes
    • “Levavi oculos meos” to four voices
    • “Liberator animarum” with five votes
    • “Locutus est Dominus” to five voices
    • “Lux fulgebit” to five votes
    • “Mirabile misterium” to five votes
    • “Murus tuus dilecta nostra” with six voices
    • “Nigra sum sed formosa” with five voices
    • “Noe, noe, hodie salvator” to four voices
    • “Nunc dimittis” to five votes
    • “Nunquam super terram” to five votes
    • “O clemens, o pia” to three votes
    • “O Dei electe” to five votes
    • “O dulcis Jesu” to four votes
    • “O Jesus Christ” to four votes
    • “O lampas ardens” to five voices
    • “Omnes sancti tui” to four voices
    • “Omnipotens sempiterne Deus” to four voices
    • “Optimam partem elegit” to five votes
    • “O pulcherrima inter mulieres” to three voices
    • “O quam praeclara sunt” to five voices
    • “O sacrum convivium” to four voices
    • “O vos qui transitis” to four voices
    • “Pater noster” to five votes
    • “Plorabant sacerdotes” with five voices
    • “Praeparat corda vestra” with four voices
    • “Praesul sanctissime Augustine” to five votes
    • “Puer qui natus est” to four votes
    • “Quam pulchra es” to three voices
    • “Recumbentibus undecim” with five votes
    • “Repleatur os meum” with five voices
    • "Retribuere dignare Domine" with four votes
    • "Rex Babilonis" to five votes
    • “Salve regina” to five voices
    • “Salve virgo virginum” with four votes
    • “Salvum me fac Domine” with five voices
    • “Sancta Trinitas” with eight votes
    • “Sancti per fidem” with five votes
    • “Scindite corda vestra” with five voices
    • “Si bona suscepimus” to five votes
    • “Si ignoras o pulchra” to five voices
    • “Spem in alium” to four votes
    • "Spiritus Domini replevit" to five votes
    • “Stephanus servus Dei” to four voices
    • “Stetit angelus juxta aram” with five votes
    • “Sufficiebat nobis” to five votes
    • "Surge Petre" to six votes
    • “Tibi soli peccavi” to four voices
    • “Tribularer si nescirem” to five votes
    • “Unum cole Deum” with four votes
    • “Vado parare vobis locum” with five votes
    • “Veni dilecte mi” to four voices
    • “Veni Sancte Spiritus” to four voices
    • “Videns Dominus flentem” to five votes
    • “Virgo ante partum” with three votes
    • “Virgo prudentissima” to five votes
    • “Visita quaesumus Domine” with four voices
  • Secular motets and tribute motets (alphabetical)
    • “Cantemus Domino gloriose” with four voices, for Giulio Boiardo di Scandiano
    • “Dum vastos Adriae” to five votes, homage to Josquin
    • “Enceladi Coeique soror” with five votes, homage to the Gonzaga and their horses
    • “Formoso vermi” with five voices, for Giacomo and Camilla dal Verme di Verona
    • “Hesperiae ultimae” with five voices, homage to Philip II of Spain
    • “Jam nova perpetuo” with five votes for Cristoforo Madruzzo, Bishop of Trento
    • “Jucundum mea vita” with five voices, according to Catullus
    • “Nos pueri tibi principi” with four voices, for Francesco Gonzaga
    • “O angele Dei” to four voices, for Ippolito II. D'Este
    • “O Domine Jesu Christe” to four voices, for Ippolito II. D'Este
    • “Ploremus omnes” to five votes, lament for the death of Cesare of Aragon
    • "Quis incredibili non exultet" to four votes, probably for Pope Clement VII.
    • “Si vera incessu” to five voices, paraphrase of Virgil, Aeneid I.
  • Motets with dubious authorship
    • “Aspice Domine de Sede” to four voices, probably by Claudin de Sermisy
    • “Convertimini ad me” with five voices, attributed to Vincenzo Ruffo
    • “In nomine Jesu” with five votes, attributed to Matthias Hermann Werrecore
    • “Jubilate Deo” with six votes, probably by Cristóbal de Morales
    • “Laudem dicite Deo nostro” with five voices, attributed to Pierre de Manchicourt
    • “Orabat Jesum mulier” with five voices, also attributed to Morales or Cipriano de Rore
    • “O sacrum convivium” with five voices, probably by Jacobus Arcadelt
    • “Salve regina” with six voices, attributed to Philippe Verdelot
    • “Veni electa mea” with five voices, attributed to Nicolas Gombert
  • Magnificats
    • Magnificat tertii toni to four votes
    • Magnificat quarti toni to four votes
    • Magnificat octavi toni to four voices
  • Individual prints of other sacred works
    • "Himni vesperarum totius anni secundum Romanam curiam [...] cum quatuor et quinque vocibus", Venice 1566
    • "Orationes complures ad officium Hebdomadae sanctae pertinentes", Venice 1567
  • Individual other spiritual works
    • 26 Vesper hymns with five voices
    • 20 Vesper psalms (partly in collaboration with Adrian Willaert and others)
    • 6 Vesper psalms with four voices
    • “Passio die Veneris” (St. John Passion) to five voices
    • “Lamentationes & Oratio Hieremiae prophetae” with four to five voices
    • “Lamentatio Hieremiae prophetae” to four voices
  • Secular works
    • “Canamus et bibamus” to four voices
    • “Doulce espérance” with four voices
    • “Vostre dolce parole” to four voices

Literature (selection)

  • AM Bautier-Regnier: Jachet de Mantoue. In: Revue belge de musicologie No. 6, 1952, pages 101–119
  • K. Widmaier: Jachet von Mantua and his motets , dissertation at the University of Freiburg im Breisgau 1953
  • PT Jackson: The Vesper Hymns of Jachet di Mantua , Master of Arts, Thesis University of North Carolina 1965
  • PM Tagman: Archival studies on music maintenance at the cathedral of Mantua (1500–1627) , Bern 1967
  • PT Jackson: The Masses of Jachet of Mantua , dissertation at the University of North Carolina 1968
  • A. Dunning: Josquini antiquos, Musae, memoremus amores: a Mantovan Motet from 1554 in Homage to Josquin. In: Acta musicologica No. 41, 1969, pages 108-116
  • A. Dunning: The State Motette 1480–1555 , Utrecht 1970
  • G. Nugent: The Jaquet Motets and their Authors , Dissertation at the University of Princeton 1973
  • PT Jackson: Two Descendants of Josquin's "Hercules Mass". In: Music and Letters No. 59, 1978, pages 188-205
  • R. Dingle: The Three-Voice Motets of Jacquet of Mantua , Master of Arts, Thesis University of London, King's College 1987
  • EE Miles: The Double Choir and cori Spezzati Vespers' Psalms of Antonio Gardane's Cantus di Adriano et di Jachet of 1550 , Master of Arts, Thesis University of Auckland 1988
  • G. Nugent: Jacquet's Tributes to the Neapolitan Aragonese. In: Journal of Musicology No. 6, 1988, pp. 198-226
  • C. Gallico: Jachet da Mantoa ei nuovi modelli di cultura musicale al tempo di Giulio Romano. In: Congress Report Mantua 1989, Mantua 1989, pp. 375–382
  • G. Nugent: Anti-Protestant Music for Sixteenth-Century Ferrara. In: Journal of the American Musicological Society No. 43, 1990, pp. 228-291
  • Klaus Pietschmann: Church music between tradition and reform. The papal choir and its repertoire in the pontificate of Paul III. (1534–1549) , Turnhout 2003 (dissertation)

Web links

swell

  1. ↑ The Music in Past and Present (MGG), Person Part Volume 9, Bärenreiter and Metzler, Kassel and Basel 2003, ISBN 3-7618-1119-5
  2. ↑ Marc Honegger, Günther Massenkeil (ed.): The great lexicon of music. Volume 4: Half a note - Kostelanetz. Herder, Freiburg im Breisgau a. a. 1981, ISBN 3-451-18054-5 .
  3. ^ The New Grove Dictionary of Music and Musicians , edited by Stanley Sadie, 2nd Edition, Volume 12, McMillan, London 2001, ISBN 0-333-60800-3
personal data
SURNAME Jachet de Mantua
ALTERNATIVE NAMES Jacquet di Mantova; Colebault, Jacques; Collebaudi, Jachetto
BRIEF DESCRIPTION Franco-Flemish composer, singer and bandmaster of the Renaissance
DATE OF BIRTH 1483
PLACE OF BIRTH Vitré (Ille-et-Vilaine)
DATE OF DEATH October 2, 1559
Place of death Mantua