Maxime Jacob

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Maxime Jacob
27.05.1969. Don Clément Jacob. M. Maritain chez Privat. (1969) - 53Fi3465 (cropped).jpg
Born 13 January 1906 Edit this on Wikidata
Died 26 February 1977 Edit this on Wikidata (aged 71)

Maxime Jacob, or Dom Clément Jacob, (13 January 1906 in Bordeaux – 26 February 1977 in Abbaye En-Calcat, Dourgne, Tarn) was a French composer and organist.

Biography[edit]

Jacob studied at the Paris Conservatory with Charles Koechlin and André Gedalge; an admirer of Darius Milhaud and Erik Satie, he was a member of the École d'Arcueil, a group of young composers sponsored by Satie after his rupture with his previous group of protégés, Les Six. Other members of this short-lived group included Henri Cliquet-Pleyel, Henri Sauguet and Roger Désormière.

In 1929, Jacob converted from Judaism to Catholicism (influenced by Jacques Maritain) and became a Benedictine monk. He would go on to study organ with Maurice Duruflé, as well as Gregorian chant.

Jacob also published two books, L'art et la grâce (1939) and Souvenirs a deux voix (1969).

In the English-speaking world, his hymn tune "Living God" in 77.77 meter with 77.77 refrain, used for I Received the Living God (J'ai reçu le Dieu vivant),[1] is well known.

Notes[edit]

  1. ^ Musica Sacra Forum http://forum.musicasacra.com/forum/discussion/4940/vatican-ii-hymnal-installment-5-hymn-selections-completed-/p2 (copyright for hymn held by Éditions du Seuil)—Hymnary.org and Soundclick.com,among others, have listed the hymn as "Anonymous."

Works[edit]

Vocal
  • Par la Taille (opera, after Alfred Jarry)
  • Le Vitrail de Sainte-Thérèse (oratorio, 1952)
  • Joinville et Saint-Louis (oratorio, after Péguy, 1971)
  • Les psaumes pour tous les temps (1966)
  • ca. 400 stage songs
Orchestral
  • Ouverture (1923)
  • Piano Concerto, 1961
Chamber music
  • 8 string quartets
Miscellaneous

Further reading[edit]

  • Marie-Rose Clouzot (1969), Souvenirs en deux voix: De Maxime Jacob à dom Clément Jacob, Toulouse: Privat.
  • Don Randel, The Harvard Biographical Dictionary of Music. Harvard, 1996, p. 413.