Jacobus Vaet

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Jacobus Vaet (* probably 1529 in Kortrijk or Harelbeke ; † January 8, 1567 in Vienna ) was a Franco-Flemish composer , singer and conductor of the late Renaissance .

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Jacobus' father, Egidius Vaet, asked in a petition to the chapter of the Church of Our Lady in Kortrijk on February 17, 1543 to accept his 13 year old son into the choir. According to this information, his date of birth is between February 18, 1529 and February 17, 1530. In the membership lists of the choir from 1543 to 1546 he is listed as Jacob vandenVaet . The composer Nicolas Gombert , who at the end of his life († around 1556) worked as a canon in Kortrijk , certainly had a greater influence on him during this period . After his voice broke , Jacobus received a scholarship from the Kapitel in Kortrijk to study at the University of Leuven . On August 29, 1567, he appears in the university's register list as "Jacobus Vat de Arelbeke". After the scholarship expired, he became a member of Emperor Charles V's choir in the summer of 1549 ; the following year he was listed there as a married tenor singer . At the end of 1551 or beginning of 1552 Jacobus Vaet left the emperor's service and went to Archduke Maximilian's chapel in Vienna, where he stayed until his death.

After only two years of service at this band, he achieved the rank of Kapellmeister here on January 1, 1554. A received letter from the composer to Archduke Ferdinand refers to his motet “Ferdinande imperio princeps” and thus also allows the dating of this work; it appeared in print three years later. In the following year, it was March 1566, Elector August of Saxony was enfeoffed by the Emperor with the position of Archmarschall; On this occasion, three high-ranking court orchestras met in Augsburg : the Munich court orchestra under the direction of Orlando di Lasso , the Electoral Saxon court orchestra from Dresden under Antonio Scandello's direction and the Vienna court orchestra under the direction of Jacobus Vaet. The following year, on January 8, 1567, Vaet died at the age of about 37. Emperor Ferdinand II apparently had a close relationship with him, because he wrote in his diary: “January 8th, main capel master Jacobus Faet is divorced”. Many composers afterwards placed a musical memorial to Jacobus Vaet in funeral music, for example Jakob Regnart , a pupil of Vaet, in the motet “Defunctum charites Vaetem”, or wrote parody masses on the composer's motets, for example Johannes de Cleve or Jacobus Gallus . His work has also received great praise from music theorists , such as Hermann Finck , Ludovico Zacconi and Pietro Cerone .

meaning

Jacobus Vaet belongs to the generation of Giovanni Pierluigi da Palestrina and Orlando di Lasso; his compositional style occupies an intermediate position between these and the previous generation of Nicolas Gombert and Jacobus Clemens non Papa . The main emphasis of his work lay in the motets; In this genre he showed a special mastery in handling the various contrapuntal and compositional means. His style was evidently particularly influenced by Nicolas Gombert; there is also a mutual influence between him and Orlando di Lasso. In his multi-choir works, Lasso was less oriented towards the Venetian coro-speczato style, but more towards the multi-choir compositions by Jacobus Vaet. Both composers wrote funeral music ( Nänien ) for the death of Clemens non Papa (“Continuo lachrimas cantores fundite fluxus”). All fairs are parody fairs based on their own or other templates; here there are even double parodies (parodies upon parodies) which show a particular mastery of contrapuntal. The two masses by Vaet "Tityre, tu patulae" and "Vitam quae faciunt" are parodies of the motets "Tityre, tu patulae" by Lasso and "Vitam quae facierunt" by Vaet himself, but they are parodies of motets Lasso.

Vaet also used musical material from Josquin , Jean Mouton , Jachet de Mantua , Christian Hollander , Clemens non Papa, Cipriano de Rore and others. He also seems to have been the first to write a Missa quodlibetica and found imitators in Jakob Regnart, Carl Luython and others. Vaet often shows bold dissonances in harmony, based on the use of excessive sixths and octaves . Compared to Clemens non Papa, it is tonally less oriented towards church modes, more dense in the sentence structure and even more concrete in the word expression. The composer also created a group of motets in praise of music, like Jacobus Clemens non Papa and Orlando di Lasso, which were certainly made for a specific occasion, such as “Musica, Dei donum optimi”. There are also a number of motets of homage by him for members of the House of Habsburg ; This is where "Romulidum inuicti pulcherrima filia regis" belongs to the wedding of Katharina , daughter of Ferdinand I and Sigismund of Poland on August 31, 1553.

Works

Complete edition: Jacobus Vaet, Complete Works , edited by Milton Steinhardt, Graz 1961–1988 (= Monuments of Tonkunst in Austria 98, 100, 103–104, 108–109, 113–114, 116, 118, 145).

  • measure up
    • Missa “Confitemini” with four voices, based on a motet by Jean Mouton
    • Missa “Dissimulare” to six parts, based on the motet “Dissimulare etiam spreasti” by Cipriano de Rore
    • Missa “Ego flos campi” with six voices, based on the motet of the same name by Jacobus Clemens non Papa
    • Missa "J'ai mis non couer" with eight voices, based on the own "Salve Regina" from 1564
    • Missa “Miser qui amat” with eight voices, based on the motet of the same name
    • Missa pro defunctis with five voices
    • Missa quodlibetica to five voices
    • Missa "Tityre, tu patulae" for six voices, based on the motet of the same name by Orlando di Lasso and his own motet "Vitam quae faciunt"
    • Missa “Vitam, quae faciunt beatiorum” with six voices, based on the motet of the same name and “Tityre, tu patulae” by Orlando di Lasso
  • Motets (66 in total)
    • Canon “Qui operatus est Petro” with six voices, Vienna 1560
    • Anthology "Modulationes, Liber 1" for five voices, Venice 1562
    • Anthology "Modulationes, Liber 2" with five to six voices, Venice 1562
    • Further motets in 16 collective prints and 3 manuscripts
  • Other sacred works
    • 8 Magnificat (one in each tone)
    • 8 Salve Regina: 2 four-part, 2 five-part, 2 six-part and 2 eight-part
    • 8 hymns with five to six voices
    • "Our father in the Heaven"
    • Hymnus Sancti Michaelis archangeli (fragment)
  • Chansons
    • "Amour leal" for four voices, in the Jardin musical, Libre 2, Antwerp [1556]
    • “En l'ombre d'ung buissonet” with four voices, in the Liber secundus. Suavissimarum et iucundissimarum harmoniarum, Nuremberg 1568
    • “Sans vous ne puis” for four votes, in the Premier livre des chansons, Leuven 1554

Literature (selection)

  • Robert Eitner :  Vaet, Jacob . In: Allgemeine Deutsche Biographie (ADB). Volume 39, Duncker & Humblot, Leipzig 1895, p. 456.
  • Milton Steinhardt: Jacobus Vaet and His Motets , East Lansing 1951
  • Milton Steinhardt: Addenda to the Biography of Jacobus Vaet. In: Festschrift C. Sachs, edited by Gustav Reese / R. Brandel, New York 1965, pages 229–235
  • W. Pass: J. Vaets and G. Prenners settings of the "Salve Regina" in Joanellus' collection of 1568. In: Festschrift E. Schenk, edited by Th. Antonicek and others, Kassel and others 1975, pages 29-49
  • AB Skei: "Dulces exuviae": Renaissance Settings of Dido's Last Words. In: The Music Review No. 37, 1976, pages 77-91
  • R. Lindell: Music and the Religious Crisis of Maximilian II. From Vaet's "Qui operatus est Petro" to Lasso's "Pacis amans". In: Yearbook of the Alamire Foundation 1995, pp. 129-138
  • Armin Raab: VAET, Jacobus. In: Biographisch-Bibliographisches Kirchenlexikon (BBKL). Volume 12, Bautz, Herzberg 1997, ISBN 3-88309-068-9 , Sp. 1013-1014
  • R. Lindell: “E. Röm: Kay: Mt: Capelmaister sampt the whole Cantaria «. On the definition of the duties of the imperial court music director in the 16th century. In: Die Wiener Hofmusikkapelle, edited by Th. Antonincek and others, Vienna 1999, pages 245-257
  • V. Panagl: Latin tribute motets for members of the House of Habsburg , Frankfurt am Main and others 2004
  • Thierry Levaux: Dictionaire des Compositeurs de Belgique du Moyen-Age à nos jours , p. 623, Editions: “Art in Belgium” 2006, ISBN 2-930338-37-7

Web links

swell

  1. ↑ The Music in Past and Present (MGG), Person Part Volume 16, Bärenreiter and Metzler, Kassel and Basel 2006, ISBN 3-7618-1136-5
  2. ↑ Marc Honegger, Günther Massenkeil (ed.): The great lexicon of music. Volume 8: Štich - Zylis-Gara. Herder, Freiburg im Breisgau a. a. 1982, ISBN 3-451-18058-8 .
  3. ^ The New Grove Dictionary of Music and Musicians , edited by Stanley Sadie, 2nd Edition, Volume 26, McMillan Publishers, London 2001, ISBN 0-333-60800-3
personal data
SURNAME Vaet, Jacobus
ALTERNATIVE NAMES Vaet, Jakob; Worth, Jacob; Vaet, Jacob
BRIEF DESCRIPTION Franco-Flemish composer and bandmaster of the Renaissance
DATE OF BIRTH 1529
PLACE OF BIRTH Kortrijk or Harelbeke
DATE OF DEATH January 8, 1567
Place of death Vienna