L’art et la grâce (Paris, 1939)
Souvenirs à deux voix (Toulouse, 1969) [conversations with M.-R. Clouzot]
‘Le compositeur et la réforme liturgique’, Encyclopédie des musiques sacrées, ed. J. Porte, iii (Paris, 1970), 338–48
R. Chalupt: Maxime Jacob (Paris, 1927)
J. Roy: ‘Maxime Jacob’, ReM, nos.192–4 (1939), 23–7
P. Denis: ‘Les organistes français d'aujourd'hui: Dom Clément Jacob’, L’orgue (1956), nos.78–81 (1956), 65–9
M.-R. Clouzot, ed.: Catalogue des oeuvres musicales de Maxime Jacob (En-Calcat, 1980)
See Jacovacci, Vincenzo.
Jacob de Senleches.
See Senleches, Jaquemin de.
See Bianchy, Jacobelus.
(b Grimma, 25 May 1688; d after 1725). German composer. The son of Samuel Jacobi, he studied theology and philosophy at the University of Leipzig, and then from December 1714 at Wittenberg, where he also was organist. In 1717 he applied unsuccessfully for the post of organist at Luckau, Lower Lusatia. From 1717 to 1721 he is recorded as Kapelldirektor at Forst, Lower Lusatia, in the service of Duchess Elisabeth of Saxe-Merseburg. He failed to obtain his father’s post at Grimma in 1721, and in 1725 was again in Wittenberg.
C.A. Jacobi’s ten extant church cantatas (at D-Dlb, LUC and MÜG; 1 ed. W. Steude, Stuttgart, 1994), some of which are for soloists, derive formally from the early church cantata as cultivated at Grimma until 1721; but they show new and original experimental traits. They display a certain independence, especially in the recitatives, from Telemann's style, which was regarded as the definitive style in Middle Germany. They incline towards a harmonic and modulatory richness reminiscent of J.S. Bach; but one cannot infer from this that Jacobi was familiar with Bach's style.
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