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Jacob Paix was a German organist, organ builder, conductor, composer and publisher. He became known as a collector of his own and, in particular, foreign pieces of music.

Jacob Paix was born in Augsburg in 1556, where his father was employed in St. Anna as an organist. From the father the son received his musical education.

In 1576, a young man, Jacob Paix was appointed organist of the parish church in Lauingen an der Donau . Here he developed a rich activity as a composer and editor, especially in collaboration with the Pfalzgräflich printer Leonhard Reinmichel. Paixen's relationship with Caspar Sturm, the builder of Ulmer Münsterorgel, confirms, besides other sources, that Paix from Lauingen also worked as an organ builder. Here he joined the Pfalzgräflichen Gymnasium illustre . This is the result of a petition from August 6th, 1600 to Prince August, the son of Palatine Philip Ludwig : " ch my brutes bey d Schuln alhie also " At the same time is a fret For Jacob Paix at the Gymnasium illustre . One mistake is that Paix has been illustrious as a third subcantor at the Pfalzgräflichen Gymnasium . The possible source relates to Paixen's son, Jacob Paix the Younger (1578-1634). He was the eldest of ten children baptized Paix in Lauingen. On several occasions, Paix was compelled to ask the council of Lauingen and Palgrave of August to visit Neuburg for money and natural things for himself and his great family, "I should like this winter, in the case of a small salary and a very difficult one To die hunger ".

In 1601 he received a better paid position as an evangelical court organist in Neuburg on the Danube , the residence of the duchy of Pfalz-Neuburg . Here he was also responsible for the figural music , directed the orchestral instrumental chapel, and also performed chancellery services.

Palgravegraf In 1613, Wolfgang Wilhelm , for political reasons, joined the Catholic faith. On this, and on a lost source from 1623, Alfred Einstein, in an investigation into Italian musicians at the court of the Neuburg Wittelsbacher (1907/1908), founded his opinion, Paix, who had been firmly attached to Lutheranism and probably no longer musically influenced the Italian taste of the Duke Had had to leave Neuburg. He had looked for an evangelical landmark, probably reached Hilpoltstein , and died there in 1623 .
This city had to become Catholic again only in the course of the counterreformation from 1627 onwards. The Palatinate side line, which resided in Hilpoltstein, remained Protestant even after 1627 - with it the servants, to whom Jacob Paix possibly belonged. Jacob Paix himself is not attested to Hilpoltstein. His son Johann Christoph Paix (1603-1645), on the other hand, entered the service of the Hilpoltstein Palgrave Johann Friedrich on June 1, 1631, only after Jacob Paixen's supposed death. His activities in Hilpoltstein can not therefore be used as an indirect proof of Jacob Paixen's stay in Hilpoltstein.

Recent researches have neither confirmed nor falsified Paixen's stay and death in Hilpoltstein. The latest source of 1617 does not even show whether Jacob Paix still lived after 1616.

Jacob Paix is ​​less important as a composer than as a collector of mostly foreign musical pieces of the 15th and 16th centuries, which he published mainly in two tablature books :

A Beautiful Nativity and Ordinary Organ Tablature Book. Many of the composer's composers, best motets, were attended by And four separate voices, and placed on all the festivals of the whole Jars, and of Chormas. Zů last also all sorts of the most beautiful songs / pass è mezzo vnd Taͤntz / all with great diligence Coloriert. Zů trewem service to the lovers of this art. Corrected and authorized in truck. By Jacobo Paix Augustano, currently organist to Laugingen . Lauingen, 1583.
THESAVRVS MOTETARVM. Newerleßner two and two splendid Moteten / Right art piece: the most famous composer / in the order showed one after the other: and each Moteten to their certain modo set. With a very high degree of diligence, and to be brought together, and brought into this brethren's tablature, by IACOBO PAIX AVGVSTANO, ORGANICO LAVINGANO. Strasbourg, 1589.
It shows that Paix was a later but significant collector and a knowledgeable collector. With his adaptations he made a cross-section of the music lovers and the church organists through the contemporary and instrumental and vocal music, ranging from popular dances to strictly polyphonic movements, for domestic music on keyboards and liturgical and liturgical Free game on the church organ. In his taboos Paix used the pure lettering of the "new German organ tablature". Although it had been in use for some time, it was only since the middle of the sixteenth century that the "old German organ tablature", with the letters and the mensural upper voice, could be applied to note lines.

Some of the intimate dances of Paix were transcribed from the second half of the 19th century onwards and were recorded in several volumes. Johannes Brahms was critical of the tabulatures.

Paixen's vocal works after Jean Mouton and Thomas Crécquillon were designated by Paix as Missa ad imitationem mottetae and as Parodia Mottetae . Parodia and imitatio have the same meaning. Parodia appeared for the first time in the title of a musical work. Out of Paix, August Wilhelm Ambros created the concept of Parodiemesse .

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