Jablonski, Marek (Michael)

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F. Liuzzi: La lauda e i primordi della melodia italiana (Rome, 1935), i, 143ff

F. Ageno, ed.: Jacopone da Todi: Laudi, trattato e detti (Florence, 1953)

F. Mancini, ed.: Iacopone da Todi: Laude (Bari, 1974/R)

A. Ziino: ‘Laudi e miniature fiorentine del primo Trecento’, Studi musicali, vii (1978), 39–83

C. Barr: The Monophonic Lauda and the Lay Religious Confraternities of Tuscany and Umbria in the Late Middle Ages (Kalamazoo, MI, 1988)

B.McD. Wilson: Music and Merchants: the Laudesi Companies of Republican Florence (Oxford, 1992), 27, 37ff, 149–82

For further bibliography see Sources, MS, §III, 7



(fl 1st half of the 16th century). Composer(s). The name appears on chansons and sacred works published from 1519 to 1556, with reprints continuing into the last quarter of the century. Although all the pieces attributed to Jacotin may be the work of a single composer, his identity is still a subject of speculation. Since the name Jacotin, common to many French and Flemish musicians of the Renaissance, is a diminutive of Jacques, Jacotin has been confused with Jacques Arcadelt, Giaches de Wert, Jacquet de Berchem and Jacquet of Mantua. The ‘Jacotin’ found in documents in Milan and Ferrara between 1468 and 1500 is certainly too early to be this composer, as may be the ‘Jacob Godebrye alias Jacotin’ at Antwerp Cathedral from 1479–1529.

Between 1516 and 1521, the singer Jacotin Le Bel (Giacomo or Jacques Level) served the papal chapel and the church of S Luigi dei Francesi in Rome. A musician of the same name was a singer and canon in the French royal chapel from 1532 to 1555. In the absence of evidence to the contrary, it has been argued that the Roman and the French Le Bel are probably the same person. On that assumption, Le Bel (not to be confused with Firmin Lebel, teacher of Palestrina) seems the likeliest contender for the identity of Jacotin the composer, and his life would span roughly the period 1490 to 1555.

Jacotin published over 30 chansons, most of them in the great Parisian collections of Attaingnant. Typically, they are scored for four voices and in the common practice of the time incorporate pre-existent melodies in the superius or tenor. The text receives crisp accentuation through lively rhythms and frequent repeated notes. Chordal passages deftly alternate with light, imitative polyphony. Two well-known chansons attributed in some sources to Jacotin are of questionable authenticity: Auprès de vous is more often ascribed to Claudin de Sermisy and Qui veult aimer is probably the work of Arcadelt.

There are no masses among the sacred works, and only a few motets and Magnificat settings. Magnificat III toni is a polyphonic elaboration of the plainsong formula. As in the other Magnificat settings, each of several distinct sections is set off by the number of voices required, varying from two to four. One of the motets published in 1519, Interveniat pro rege nostro, doubtless written for Louis XII (d 1515), links the composer to the French court; the text is an intercession for ‘our king, now and in the hour of his death’.


for 4 voices unless otherwise indicated

Editions: Treize livres de motets parus chez Pierre Attaingnant, ed. A. Smijers, v–vi (Monaco, 1960) [S]Pierre Attaingnant: Transcriptions of Chansons for Keyboard (1531), ed. A. Seay, CMM, xx (1961) [AS]Treize livres de motets parus chez Pierre Attaingnant, ed. A.T. Merritt, ix (Monaco, 1962) [M]Pierre Attaingnant, Second Livre (1536), ed. A. Seay (Colorado Springs, CO, 1980) [A]La couronne et fleur des chansons a troys, ed. L. Bernstein (New York, 1984) [C]The Motet Books of Andrea Antico, ed. M. Picker, MRM, viii (1987) [P]Chansons Published by Le Roy and Ballard, ed. J. Bernstein, SSC, x (1994) [B]


4 Magnificat settings: 3rd tone, S v, 144; 4th tone, S vi, 11; 7th tone, NL-Lu; 8th tone, S vi, 138

8 motets: Beati omnes qui timent Dominum, 3vv, 154218 (attrib. Jacotin in 15878); Credidi propter quod locutus sum, M 71; Inclina Domine aurem tuam, M 151; Interveniat pro rege nostro (for Louis XII), 15191, repr. 15201 as Interveniat pro Gabrieli, P 188; Michael archangele, 15191; Nunque vixisti o pauper, 2vv, 154916; Proba me, Domine, et tenta me, M 65; Rogamus te, Virgo Maria, ed. in Lowinsky (1968)

Chanson spirituelle, Souverain Dieu, 155318

Sancta Trinitas, 8vv, attrib. Jacotin in 15452, is by Jacquet of Mantua

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