Jachet, Buus

Also known as Jachet Fiammingo. A native of Flanders; born probably at Bruges in the early part of the  Sixteenth Century. His name first appeared in Le Paragon des Chansons, published by Jacques Moderne at Lyons, 1538. On going to Italy he is believed to have become assistant organist at St. Mark's Cathedral, Venice, in 1541. Went to Vienna in 1553, on leave of absence, and as he was offered the position of organist in the Royal chapel, he remained there in spite of the protestations of the Venetians. After 1564 his name no longer appeared on the chapel books, and no further mention of him is found anywhere. He is thought to be the author of a motet, in the Fourth Volume of Motets, published in 1539; two volumes of French Canzons; and eighteen Ricerari, contained in two volumes, about the first organ-music printed. Some of these works are in the British Museum, the Munich Royal Library, and the Royal Library at Venice.

With Jachet Buus is often confounded a Jacob or Jacobus Vaet. Jacob was a Netherland contrapuntist, who lived in Vienna as singer in the Royal chapel during the reign of Charles V. and Ferdinand I., and Maximilian II., and probably succeeded Buus as chapelmaster in 1564. Riemann mentions a book of modulations for five voices which he published in 1562. Novus thesaurus musicus, and Susato's various collections contain most of his other compositions, including chanzons, motets, a Te Deum, and a Miserere.

Another Jachet, a Jachet de Berchem, about whom little is known, has been frequently considered the same as Jachet da Mantua. He was probably born at Berchem, near Antwerp, and was a great contrapuntist, but just what compositions are his is not certain. However it seems certain that he was organist to the Duke of Ferrara in 1555. It is not unlikely that Jaches de Ferrara resigned his position at that time, for no definite dates are given during which he held the position of ducal organist, or possibly Berchem may have been an assistant. That he was in the service of the Duke, Grove is convinced, because three books of caprices by him were dedicated to Ferrara. In the Monatshefte fur Musikgeschichte, 1889, the following list of compositions is given as authentic: Madrigals, 1546 and 1556; capriccios, for four voices, 1561; a mass; and a number of single madrigals in various collections of the time; also some French chansons in manuscript, preserved at the Munich Royal Library.