Speth: Ars Magna Consoni et Dissoni for Organ / Butterin, Minali

$8.99
Label
Brilliant Classics
Release Date
May 27, 2022
Format
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    Featuring ⌄
    • COMPOSER
      Johann Speth
    • PERFORMER
      Chiara Minali, Letizia Butterin
    Product Details ⌄
    • RELEASE DATE
      May 27, 2022
    • UPC
      5028421960975
    • CATALOG NUMBER
      BRI96097
    • LABEL
      Brilliant Classics
    • NUMBER OF DISCS
      2
    • GENRE
      Classical
    Works ⌄

    1. Toccata prima oder Erstes Musicalisches Blumen Feld

      Composer: Johannes Speth

      Performer: Chiara Minali

    2. Toccata secunda oder Zweytes Musicalisches Blumen Feld

      Composer: Johannes Speth

      Performer: Chiara Minali

    3. Toccata tertia oder Drites Musicalisches Blumen Feld

      Composer: Johannes Speth

      Performer: Chiara Minali

    4. Toccata quarta oder Viertes Musicalisches Blumen Feld

      Composer: Johannes Speth

      Performer: Chiara Minali

    5. Toccata quinta oder Fünfftes Musicalisches Blumen Feld

      Composer: Johannes Speth

      Performer: Chiara Minali

    6. Toccata sexta oder Sechstes Musicalisches Blumen Feld

      Composer: Johannes Speth

      Performer: Chiara Minali

    7. Toccata septima oder Sibendtes Musicalisches Blumen Feld

      Composer: Johannes Speth

      Performer: Chiara Minali

    8. Toccata octava oder Achtes Musicalisches Blumen Feld

      Composer: Johannes Speth

      Performer: Chiara Minali

    9. Toccata nona oder Neundtes Musicalisches Blumen Feld

      Composer: Johannes Speth

      Performer: Chiara Minali

    10. Toccata decima et ultima oder Zehendes Musicalisches Blumen Feld

      Composer: Johannes Speth

      Performer: Chiara Minali

    11. Partite diverse sopra l'aria detta la Todesca

      Composer: Johannes Speth

      Performer: Chiara Minali

    12. Partite diverse sopra l'aria detta la Pasquina

      Composer: Johannes Speth

      Performer: Chiara Minali

    13. Partite diverse sopra la Spagnioletta

      Composer: Johannes Speth

      Performer: Chiara Minali

    14. Magnificat primi toni

      Composer: Johannes Speth

      Performer: Letizia Butterin, Chiara Minali

    15. Magnificat secundi toni

      Composer: Johannes Speth

      Performer: Letizia Butterin, Chiara Minali

    16. Magnificat tertii toni

      Composer: Johannes Speth

      Performer: Letizia Butterin, Chiara Minali

    17. Magnificat quarti toni

      Composer: Johannes Speth

      Performer: Letizia Butterin, Chiara Minali

    18. Magnificat quinti toni

      Composer: Johannes Speth

      Performer: Letizia Butterin, Chiara Minali

    19. Magnificat sexti toni

      Composer: Johannes Speth

      Performer: Letizia Butterin, Chiara Minali

    20. Magnificat septimi toni

      Composer: Johannes Speth

      Performer: Letizia Butterin, Chiara Minali

    21. Magnificat octavi toni

      Composer: Johannes Speth

      Performer: Letizia Butterin, Chiara Minali


The music of Johann Speth (1664-1719) has featured here and there on many compilations of instrumental music from mid-17th century Germany. However, until now there has never been a complete recording of the sole collection which carries his name down to us today. Published in 1693, this volume of keyboard toccatas, partitas and Magnificats takes its title from an influential treatise on the science and aesthetics of music from 1650 by the Jesuit scholar Athanasius Kircher. Kircher attempted to show how the balance of dissonance with consonance in harmony mirrored the presence of good and evil in the universe. There is in turn something attractively compendious about Speth’s musical response, which Speth appears to have produced as a bona fide for his successful application to become organist of the cathedral in Augsburg. Very little is known of his life until that point in 1692, and not much after, save that in 1719 he was still living and active in the city which at the time was politically significant and prosperous as a seat of the Hapsburgs Ars Magna Consoni et Dissoni opens with a sequence of 10 toccatas, quite brief and owing something to the influence of contemporary southern German composers such as Georg Muffat and Johann Caspar Ferdinand Fischer. There follows the more Italianate strains of three ‘partitas.’ The remainder of Speth’s collection synthesizes Italian and German styles in eight Magnficats. Each of the Magnificats takes its tonal base – the equivalent of its key signature – from a different musical mode, each starting on their own note. The collection as a whole adds up to a colorful snapshot of the invention and variety of German keyboard music beyond Bach, and as a notable predecessor to the compendious ambitions of The Well-Tempered Clavier.