{"id":54970,"date":"2024-06-02T14:21:40","date_gmt":"2024-06-02T12:21:40","guid":{"rendered":"https:\/\/www.musikzeitung.ch\/?p=54970"},"modified":"2024-06-03T08:25:26","modified_gmt":"2024-06-03T06:25:26","slug":"etueden-saint-sae%cc%88ns","status":"publish","type":"post","link":"https:\/\/www.musikzeitung.ch\/en\/rezensionen\/noten-rezensionen\/2024\/06\/etueden-saint-sae%cc%88ns","title":{"rendered":"Etude cycles by Camille Saint-Sa\u00ebns"},"content":{"rendered":"
\"\"
The child prodigy Camille Saint-Sa\u00ebns at the age of 11, presumably playing etudes himself. Anonymous drawing, first published in \"L'illustration\" in 1846. Wikimedia commons<\/a><\/figcaption><\/figure>\n

In recent years, the B\u00e4renreiter publishing house has also devoted a great deal of attention to the French piano repertoire. Numerous new editions of works by Debussy, Ravel, Satie, Faur\u00e9, Chabrier, Vierne and Camille Saint-Sa\u00ebns have appeared in rapid succession. The latter's two collections of etudes op. 52 and op. 111 have also recently been published.<\/p>\n

Each booklet comprises six completely different numbers, which perhaps refers to Bach's role model, who liked to group his suites together in sets of six. However, with the total number of twelve, Saint-Sa\u00ebns could also have been inspired by Chopin's Etudes op. 10 or op. 25.<\/p>\n

In any case, some of the pianistic tasks are reminiscent of Chopin. There are two etudes in Opus 111 that deal extensively with thirds (diatonic and chromatic\/large and small\/right and left). Arpeggios, chromatic scales and double stops of various kinds are also omnipresent.<\/p>\n

But Bach is also honored. After all, three numbers bear the title \"Pr\u00e9lude et fugue\". The training of polyphonic playing was obviously also central to the piano virtuoso Saint-Sa\u00ebns.<\/p>\n

The concluding \u00e9tude of each booklet is somewhat more extended and combines various playing formulas into a longer concert piece. In Opus 52 this is a brilliant waltz, while Opus 111 concludes with a toccata based on the finale of the 5th Piano Concerto (the so-called \"Egyptian\").<\/p>\n

The two collections of etudes are rarely or never heard on concert stages. There are probably reasons for this. Because, with the exception of the two final numbers mentioned, the pieces are not really musically captivating at length. The focus is too much on the purely pianistic. And even the fugues are not really convincing in their academic tone. As practice material for certain technical challenges, however, Saint-Sa\u00ebns' etudes are a rich treasure trove. Especially No. 2 from the first book (Pour l'ind\u00e9pendance des doigts<\/em>) offers original and tricky tasks ...<\/p>\n

His Etudes op. 135, which deal exclusively with the left hand, should also be mentioned in this context. Editor Catherine Massip has written detailed and readable introductions to all three collections. These deal with the history of the composition, the dedicatees, the interpretation and the reception of the works.<\/p>\n

However, if you want to get closer to the composer Saint-Sa\u00ebns musically, you should perhaps take a closer look at his chamber music.
\nHis Violin-<\/a> and cello sonatas, but above all his two piano trios op. 18 and op. 92, are real masterpieces that are still underappreciated in our part of the world.\"\"<\/p>\n

Camille Saint-Saens: Six Etudes pour piano, Premier livre op. 52, edited by Catherine Massip, BA 11854, \u20ac 21.95, B\u00e4renreiter, Kassel<\/em><\/p>\n

Id.: Deuxi\u00e8me livre op. 111, BA 11855
\n<\/em><\/p>","protected":false},"excerpt":{"rendered":"

Ultimately, the pieces from Opus 52 and 111 belong more to the rehearsal literature than to the performance literature. There, however, they offer valuable possibilities. <\/p>","protected":false},"author":29,"featured_media":54974,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","pgc_sgb_lightbox_settings":"","footnotes":""},"categories":[1316,29],"tags":[1799,4099,1587],"class_list":["post-54970","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-noten-rezensionen","category-rezensionen","tag-camille-saint-saens","tag-etuede","tag-klavier"],"acf":[],"yoast_head":"\nEt\u00fcdenzyklen von Camille Saint-Sae\u0308ns - Schweizer Musikzeitung<\/title>\n<meta name=\"description\" content=\"Letztlich geh\u00f6ren die St\u00fccke aus Opus 52 und 111 wohl eher zur \u00dcbe- als zur Vortragsliteratur. Dort aber bieten sie wertvolle M\u00f6glichkeiten.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.musikzeitung.ch\/en\/rezensionen\/noten-rezensionen\/2024\/06\/etueden-saint-sae\u0308ns\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Et\u00fcdenzyklen von Camille Saint-Sae\u0308ns - Schweizer Musikzeitung\" \/>\n<meta property=\"og:description\" content=\"Letztlich geh\u00f6ren die St\u00fccke aus Opus 52 und 111 wohl eher zur \u00dcbe- als zur Vortragsliteratur. Dort aber bieten sie wertvolle M\u00f6glichkeiten.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.musikzeitung.ch\/en\/rezensionen\/noten-rezensionen\/2024\/06\/etueden-saint-sae\u0308ns\/\" \/>\n<meta property=\"og:site_name\" content=\"Schweizer Musikzeitung\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/SchweizerMusikzeitung\/\" \/>\n<meta property=\"article:published_time\" content=\"2024-06-02T12:21:40+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-06-03T06:25:26+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2024\/06\/Saint-Saens-1846.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"896\" \/>\n\t<meta property=\"og:image:height\" content=\"632\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"pia.schwab\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@smusikzeitung\" \/>\n<meta name=\"twitter:site\" content=\"@smusikzeitung\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"pia.schwab\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/rezensionen\\\/noten-rezensionen\\\/2024\\\/06\\\/etueden-saint-sae%cc%88ns#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/rezensionen\\\/noten-rezensionen\\\/2024\\\/06\\\/etueden-saint-sae%cc%88ns\"},\"author\":{\"name\":\"pia.schwab\",\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/#\\\/schema\\\/person\\\/ea3d7b86bd7157c78c7ddd37f2f82b5b\"},\"headline\":\"Et\u00fcdenzyklen von Camille Saint-Sae\u0308ns\",\"datePublished\":\"2024-06-02T12:21:40+00:00\",\"dateModified\":\"2024-06-03T06:25:26+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/rezensionen\\\/noten-rezensionen\\\/2024\\\/06\\\/etueden-saint-sae%cc%88ns\"},\"wordCount\":468,\"publisher\":{\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/rezensionen\\\/noten-rezensionen\\\/2024\\\/06\\\/etueden-saint-sae%cc%88ns#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/www.musikzeitung.ch\\\/wp-content\\\/uploads\\\/2024\\\/06\\\/Saint-Saens-1846.jpg\",\"keywords\":[\"Camille Saint-Sa\u00ebns\",\"Et\u00fcde\",\"Klavier\"],\"articleSection\":[\"Noten\",\"Rezensionen\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/rezensionen\\\/noten-rezensionen\\\/2024\\\/06\\\/etueden-saint-sae%cc%88ns\",\"url\":\"https:\\\/\\\/www.musikzeitung.ch\\\/rezensionen\\\/noten-rezensionen\\\/2024\\\/06\\\/etueden-saint-sae%cc%88ns\",\"name\":\"Et\u00fcdenzyklen von Camille Saint-Sae\u0308ns - Schweizer Musikzeitung\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/rezensionen\\\/noten-rezensionen\\\/2024\\\/06\\\/etueden-saint-sae%cc%88ns#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/rezensionen\\\/noten-rezensionen\\\/2024\\\/06\\\/etueden-saint-sae%cc%88ns#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/www.musikzeitung.ch\\\/wp-content\\\/uploads\\\/2024\\\/06\\\/Saint-Saens-1846.jpg\",\"datePublished\":\"2024-06-02T12:21:40+00:00\",\"dateModified\":\"2024-06-03T06:25:26+00:00\",\"description\":\"Letztlich geh\u00f6ren die St\u00fccke aus Opus 52 und 111 wohl eher zur \u00dcbe- als zur Vortragsliteratur. Dort aber bieten sie wertvolle M\u00f6glichkeiten.\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/rezensionen\\\/noten-rezensionen\\\/2024\\\/06\\\/etueden-saint-sae%cc%88ns#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/www.musikzeitung.ch\\\/rezensionen\\\/noten-rezensionen\\\/2024\\\/06\\\/etueden-saint-sae%cc%88ns\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/rezensionen\\\/noten-rezensionen\\\/2024\\\/06\\\/etueden-saint-sae%cc%88ns#primaryimage\",\"url\":\"https:\\\/\\\/www.musikzeitung.ch\\\/wp-content\\\/uploads\\\/2024\\\/06\\\/Saint-Saens-1846.jpg\",\"contentUrl\":\"https:\\\/\\\/www.musikzeitung.ch\\\/wp-content\\\/uploads\\\/2024\\\/06\\\/Saint-Saens-1846.jpg\",\"width\":896,\"height\":632},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/rezensionen\\\/noten-rezensionen\\\/2024\\\/06\\\/etueden-saint-sae%cc%88ns#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/www.musikzeitung.ch\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Et\u00fcdenzyklen von Camille Saint-Sae\u0308ns\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/#website\",\"url\":\"https:\\\/\\\/www.musikzeitung.ch\\\/\",\"name\":\"Schweizer Musikzeitung\",\"description\":\"Die f\u00fchrende sparten\u00fcbergreifende Monatszeitung in der Schweiz f\u00fcr musikalische Fragen.\",\"publisher\":{\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/www.musikzeitung.ch\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/#organization\",\"name\":\"Schweizer Musikzeitung\",\"url\":\"https:\\\/\\\/www.musikzeitung.ch\\\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/#\\\/schema\\\/logo\\\/image\\\/\",\"url\":\"https:\\\/\\\/www.musikzeitung.ch\\\/wp-content\\\/uploads\\\/2023\\\/01\\\/SMZ_Schriftzug_Sprache.png\",\"contentUrl\":\"https:\\\/\\\/www.musikzeitung.ch\\\/wp-content\\\/uploads\\\/2023\\\/01\\\/SMZ_Schriftzug_Sprache.png\",\"width\":1400,\"height\":279,\"caption\":\"Schweizer Musikzeitung\"},\"image\":{\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/#\\\/schema\\\/logo\\\/image\\\/\"},\"sameAs\":[\"https:\\\/\\\/www.facebook.com\\\/SchweizerMusikzeitung\\\/\",\"https:\\\/\\\/x.com\\\/smusikzeitung\",\"https:\\\/\\\/www.instagram.com\\\/musikzeitung.ch\\\/\"]},{\"@type\":\"Person\",\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/#\\\/schema\\\/person\\\/ea3d7b86bd7157c78c7ddd37f2f82b5b\",\"name\":\"pia.schwab\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/d39d170de4c2d07e897fbc26cf9d890fc046285c742207b86d8ebabe5fcde2c4?s=96&d=mm&r=g\",\"url\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/d39d170de4c2d07e897fbc26cf9d890fc046285c742207b86d8ebabe5fcde2c4?s=96&d=mm&r=g\",\"contentUrl\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/d39d170de4c2d07e897fbc26cf9d890fc046285c742207b86d8ebabe5fcde2c4?s=96&d=mm&r=g\",\"caption\":\"pia.schwab\"},\"url\":\"https:\\\/\\\/www.musikzeitung.ch\\\/en\\\/author\\\/pia-schwab\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Etude cycles by Camille Saint-Sa\u00ebns - Schweizer Musikzeitung","description":"Ultimately, the pieces from Opus 52 and 111 belong more to the rehearsal literature than to the performance literature. There, however, they offer valuable possibilities.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.musikzeitung.ch\/en\/rezensionen\/noten-rezensionen\/2024\/06\/etueden-saint-sae\u0308ns\/","og_locale":"en_US","og_type":"article","og_title":"Et\u00fcdenzyklen von Camille Saint-Sae\u0308ns - Schweizer Musikzeitung","og_description":"Letztlich geh\u00f6ren die St\u00fccke aus Opus 52 und 111 wohl eher zur \u00dcbe- als zur Vortragsliteratur. Dort aber bieten sie wertvolle M\u00f6glichkeiten.","og_url":"https:\/\/www.musikzeitung.ch\/en\/rezensionen\/noten-rezensionen\/2024\/06\/etueden-saint-sae\u0308ns\/","og_site_name":"Schweizer Musikzeitung","article_publisher":"https:\/\/www.facebook.com\/SchweizerMusikzeitung\/","article_published_time":"2024-06-02T12:21:40+00:00","article_modified_time":"2024-06-03T06:25:26+00:00","og_image":[{"width":896,"height":632,"url":"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2024\/06\/Saint-Saens-1846.jpg","type":"image\/jpeg"}],"author":"pia.schwab","twitter_card":"summary_large_image","twitter_creator":"@smusikzeitung","twitter_site":"@smusikzeitung","twitter_misc":{"Written by":"pia.schwab","Est. reading time":"4 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.musikzeitung.ch\/rezensionen\/noten-rezensionen\/2024\/06\/etueden-saint-sae%cc%88ns#article","isPartOf":{"@id":"https:\/\/www.musikzeitung.ch\/rezensionen\/noten-rezensionen\/2024\/06\/etueden-saint-sae%cc%88ns"},"author":{"name":"pia.schwab","@id":"https:\/\/www.musikzeitung.ch\/#\/schema\/person\/ea3d7b86bd7157c78c7ddd37f2f82b5b"},"headline":"Et\u00fcdenzyklen von Camille Saint-Sae\u0308ns","datePublished":"2024-06-02T12:21:40+00:00","dateModified":"2024-06-03T06:25:26+00:00","mainEntityOfPage":{"@id":"https:\/\/www.musikzeitung.ch\/rezensionen\/noten-rezensionen\/2024\/06\/etueden-saint-sae%cc%88ns"},"wordCount":468,"publisher":{"@id":"https:\/\/www.musikzeitung.ch\/#organization"},"image":{"@id":"https:\/\/www.musikzeitung.ch\/rezensionen\/noten-rezensionen\/2024\/06\/etueden-saint-sae%cc%88ns#primaryimage"},"thumbnailUrl":"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2024\/06\/Saint-Saens-1846.jpg","keywords":["Camille Saint-Sa\u00ebns","Et\u00fcde","Klavier"],"articleSection":["Noten","Rezensionen"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.musikzeitung.ch\/rezensionen\/noten-rezensionen\/2024\/06\/etueden-saint-sae%cc%88ns","url":"https:\/\/www.musikzeitung.ch\/rezensionen\/noten-rezensionen\/2024\/06\/etueden-saint-sae%cc%88ns","name":"Etude cycles by Camille Saint-Sa\u00ebns - Schweizer Musikzeitung","isPartOf":{"@id":"https:\/\/www.musikzeitung.ch\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.musikzeitung.ch\/rezensionen\/noten-rezensionen\/2024\/06\/etueden-saint-sae%cc%88ns#primaryimage"},"image":{"@id":"https:\/\/www.musikzeitung.ch\/rezensionen\/noten-rezensionen\/2024\/06\/etueden-saint-sae%cc%88ns#primaryimage"},"thumbnailUrl":"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2024\/06\/Saint-Saens-1846.jpg","datePublished":"2024-06-02T12:21:40+00:00","dateModified":"2024-06-03T06:25:26+00:00","description":"Ultimately, the pieces from Opus 52 and 111 belong more to the rehearsal literature than to the performance literature. There, however, they offer valuable possibilities.","breadcrumb":{"@id":"https:\/\/www.musikzeitung.ch\/rezensionen\/noten-rezensionen\/2024\/06\/etueden-saint-sae%cc%88ns#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.musikzeitung.ch\/rezensionen\/noten-rezensionen\/2024\/06\/etueden-saint-sae%cc%88ns"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.musikzeitung.ch\/rezensionen\/noten-rezensionen\/2024\/06\/etueden-saint-sae%cc%88ns#primaryimage","url":"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2024\/06\/Saint-Saens-1846.jpg","contentUrl":"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2024\/06\/Saint-Saens-1846.jpg","width":896,"height":632},{"@type":"BreadcrumbList","@id":"https:\/\/www.musikzeitung.ch\/rezensionen\/noten-rezensionen\/2024\/06\/etueden-saint-sae%cc%88ns#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.musikzeitung.ch\/"},{"@type":"ListItem","position":2,"name":"Et\u00fcdenzyklen von Camille Saint-Sae\u0308ns"}]},{"@type":"WebSite","@id":"https:\/\/www.musikzeitung.ch\/#website","url":"https:\/\/www.musikzeitung.ch\/","name":"Swiss Music Newspaper","description":"The leading interdisciplinary monthly newspaper in Switzerland for musical issues.","publisher":{"@id":"https:\/\/www.musikzeitung.ch\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.musikzeitung.ch\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/www.musikzeitung.ch\/#organization","name":"Swiss Music Newspaper","url":"https:\/\/www.musikzeitung.ch\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.musikzeitung.ch\/#\/schema\/logo\/image\/","url":"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/SMZ_Schriftzug_Sprache.png","contentUrl":"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/SMZ_Schriftzug_Sprache.png","width":1400,"height":279,"caption":"Schweizer Musikzeitung"},"image":{"@id":"https:\/\/www.musikzeitung.ch\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/SchweizerMusikzeitung\/","https:\/\/x.com\/smusikzeitung","https:\/\/www.instagram.com\/musikzeitung.ch\/"]},{"@type":"Person","@id":"https:\/\/www.musikzeitung.ch\/#\/schema\/person\/ea3d7b86bd7157c78c7ddd37f2f82b5b","name":"pia.schwab","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/secure.gravatar.com\/avatar\/d39d170de4c2d07e897fbc26cf9d890fc046285c742207b86d8ebabe5fcde2c4?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/d39d170de4c2d07e897fbc26cf9d890fc046285c742207b86d8ebabe5fcde2c4?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/d39d170de4c2d07e897fbc26cf9d890fc046285c742207b86d8ebabe5fcde2c4?s=96&d=mm&r=g","caption":"pia.schwab"},"url":"https:\/\/www.musikzeitung.ch\/en\/author\/pia-schwab"}]}},"publishpress_future_workflow_manual_trigger":{"enabledWorkflows":[]},"_links":{"self":[{"href":"https:\/\/www.musikzeitung.ch\/en\/wp-json\/wp\/v2\/posts\/54970","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.musikzeitung.ch\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.musikzeitung.ch\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.musikzeitung.ch\/en\/wp-json\/wp\/v2\/users\/29"}],"replies":[{"embeddable":true,"href":"https:\/\/www.musikzeitung.ch\/en\/wp-json\/wp\/v2\/comments?post=54970"}],"version-history":[{"count":5,"href":"https:\/\/www.musikzeitung.ch\/en\/wp-json\/wp\/v2\/posts\/54970\/revisions"}],"predecessor-version":[{"id":54978,"href":"https:\/\/www.musikzeitung.ch\/en\/wp-json\/wp\/v2\/posts\/54970\/revisions\/54978"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.musikzeitung.ch\/en\/wp-json\/wp\/v2\/media\/54974"}],"wp:attachment":[{"href":"https:\/\/www.musikzeitung.ch\/en\/wp-json\/wp\/v2\/media?parent=54970"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.musikzeitung.ch\/en\/wp-json\/wp\/v2\/categories?post=54970"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.musikzeitung.ch\/en\/wp-json\/wp\/v2\/tags?post=54970"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}