{"id":6564,"date":"2022-04-27T00:00:00","date_gmt":"2022-04-26T23:00:00","guid":{"rendered":"https:\/\/www.musikzeitung.ch\/allgemein\/temperamentvoll\/"},"modified":"2024-08-22T14:12:27","modified_gmt":"2024-08-22T12:12:27","slug":"temperamentvoll","status":"publish","type":"post","link":"https:\/\/www.musikzeitung.ch\/en\/rezensionen\/noten-rezensionen\/2022\/04\/temperamentvoll","title":{"rendered":"\"Spirited\""},"content":{"rendered":"<figure style=\"width: 554px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/TemperamentePS-Kopie-2.png\" alt=\"\" width=\"554\" height=\"253\" \/><figcaption class=\"wp-caption-text\">Sanguine, melancholic and choleric. Photos: Fritz M\u00f6ller, 1895 or earlier. Photos: <a href=\"http:\/\/www.deutschefotothek.de\/documents\/obj\/90021458\" target=\"_blank\" rel=\"noopener\">SLUB \/ Deutsche Fotothek \/ Richter, Regine<\/a><\/figcaption><\/figure>\n<div class=\"text-section\">\n<p>In our everyday psychology and colloquial language, \"the choleric\" and \"the melancholic\" are definitely present, even if the doctrine of temperaments no longer plays a role in modern scientific personality psychology. As role models and inspiration for musical composition, however, the archetypal basic types of being are perfectly suitable. The composer G\u00fcnter Habicht will probably have realized this in his Sonatina, composed in 1969 and published by Breitkopf in 2021. <em>Temperaments<\/em> have thought.<br \/>\nG\u00fcnter Habicht (1916-2010) lived in the GDR from 1949 and worked as a dance musician, primary school teacher and, from 1955 to 1981, as a teacher of music theory and clarinet at the Leipzig-Stadt music school. He composed music for folk instruments, teaching literature and works for wind orchestra, chamber and orchestral music.<\/p>\n<p>The Sonatina for clarinet and piano comprises three movements. The first movement, an Allegro giocoso (The Sanguine), is characterized by a rhythmically concise and a contrasting, rather lyrical theme that expresses lightness and joie de vivre. The second movement, which musically depicts the melancholic and is entitled Larghetto con dolore, consists of an ostinato piano accompaniment and rhythmically repeating short phrases in the clarinet, reminiscent of circling thoughts. The final movement, a lively Rondino burlesco (The Choleric), shows an agitated, wild character with clownish features: a not unsympathetic choleric. Harmonically, the sonatina moves in a moderately free tonality in the spirit of Hindemith without clearly recognizable fundamental tones or tonal centers.<\/p>\n<p>The clarinet part and the piano accompaniment both have a similar level of difficulty, making the work suitable for advanced music students and amateur musicians.<\/p>\n<\/div>\n<div class=\"text-section\">\n<dl class=\"picture media photo\">\n<dt><img decoding=\"async\" class=\"media photo aligncenter\" src=\"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/05_crit_note_Klarinette_Habicht.jpg\" alt=\"Image \" \/><\/dt>\n<\/dl>\n<\/div>\n<div class=\"text-section\">\n<p><em>G\u00fcnter Habicht: Sonatina \"Temperaments\" for clarinet and piano, EB 7515, \u20ac 21.90, Breitkopf &amp; H\u00e4rtel, Wiesbaden <\/em><\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p><strong>G\u00fcnter Habicht's three-movement piece for clarinet and piano is based on the theory of temperament. <\/strong><\/p>","protected":false},"author":1,"featured_media":6565,"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":[3087,2628],"class_list":["post-6564","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-noten-rezensionen","category-rezensionen","tag-guenter-habicht","tag-klarinette"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>\u00abTemperamentvoll\u00bb - Schweizer Musikzeitung<\/title>\n<meta name=\"description\" content=\"G\u00fcnter Habichts dreis\u00e4tziges St\u00fcck f\u00fcr Klarinette und Klavier orientiert sich an der Temperamentenlehre.\" \/>\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\/2022\/04\/temperamentvoll\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u00abTemperamentvoll\u00bb - Schweizer Musikzeitung\" \/>\n<meta property=\"og:description\" content=\"G\u00fcnter Habichts dreis\u00e4tziges St\u00fcck f\u00fcr Klarinette und Klavier orientiert sich an der Temperamentenlehre.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.musikzeitung.ch\/en\/rezensionen\/noten-rezensionen\/2022\/04\/temperamentvoll\/\" \/>\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=\"2022-04-26T23:00:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-08-22T12:12:27+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/TemperamentePS-Kopie-2.png\" \/>\n\t<meta property=\"og:image:width\" content=\"554\" \/>\n\t<meta property=\"og:image:height\" content=\"253\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"Musikzeitung-Redaktion\" \/>\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=\"Musikzeitung-Redaktion\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"3 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\\\/2022\\\/04\\\/temperamentvoll#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/rezensionen\\\/noten-rezensionen\\\/2022\\\/04\\\/temperamentvoll\"},\"author\":{\"name\":\"Musikzeitung-Redaktion\",\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/#\\\/schema\\\/person\\\/b2fd892c800856270b9dcc6001265712\"},\"headline\":\"\u00abTemperamentvoll\u00bb\",\"datePublished\":\"2022-04-26T23:00:00+00:00\",\"dateModified\":\"2024-08-22T12:12:27+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/rezensionen\\\/noten-rezensionen\\\/2022\\\/04\\\/temperamentvoll\"},\"wordCount\":291,\"publisher\":{\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/rezensionen\\\/noten-rezensionen\\\/2022\\\/04\\\/temperamentvoll#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/www.musikzeitung.ch\\\/wp-content\\\/uploads\\\/2023\\\/01\\\/TemperamentePS-Kopie-2.png\",\"keywords\":[\"G\u00fcnter Habicht\",\"Klarinette\"],\"articleSection\":[\"Noten\",\"Rezensionen\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/rezensionen\\\/noten-rezensionen\\\/2022\\\/04\\\/temperamentvoll\",\"url\":\"https:\\\/\\\/www.musikzeitung.ch\\\/rezensionen\\\/noten-rezensionen\\\/2022\\\/04\\\/temperamentvoll\",\"name\":\"\u00abTemperamentvoll\u00bb - Schweizer Musikzeitung\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/rezensionen\\\/noten-rezensionen\\\/2022\\\/04\\\/temperamentvoll#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/rezensionen\\\/noten-rezensionen\\\/2022\\\/04\\\/temperamentvoll#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/www.musikzeitung.ch\\\/wp-content\\\/uploads\\\/2023\\\/01\\\/TemperamentePS-Kopie-2.png\",\"datePublished\":\"2022-04-26T23:00:00+00:00\",\"dateModified\":\"2024-08-22T12:12:27+00:00\",\"description\":\"G\u00fcnter Habichts dreis\u00e4tziges St\u00fcck f\u00fcr Klarinette und Klavier orientiert sich an der Temperamentenlehre.\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/rezensionen\\\/noten-rezensionen\\\/2022\\\/04\\\/temperamentvoll#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/www.musikzeitung.ch\\\/rezensionen\\\/noten-rezensionen\\\/2022\\\/04\\\/temperamentvoll\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/rezensionen\\\/noten-rezensionen\\\/2022\\\/04\\\/temperamentvoll#primaryimage\",\"url\":\"https:\\\/\\\/www.musikzeitung.ch\\\/wp-content\\\/uploads\\\/2023\\\/01\\\/TemperamentePS-Kopie-2.png\",\"contentUrl\":\"https:\\\/\\\/www.musikzeitung.ch\\\/wp-content\\\/uploads\\\/2023\\\/01\\\/TemperamentePS-Kopie-2.png\",\"width\":554,\"height\":253},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/rezensionen\\\/noten-rezensionen\\\/2022\\\/04\\\/temperamentvoll#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/www.musikzeitung.ch\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"\u00abTemperamentvoll\u00bb\"}]},{\"@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\\\/b2fd892c800856270b9dcc6001265712\",\"name\":\"Musikzeitung-Redaktion\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/wp-content\\\/uploads\\\/2022\\\/05\\\/usericon_musikzeitung-96x96.jpg\",\"url\":\"https:\\\/\\\/www.musikzeitung.ch\\\/wp-content\\\/uploads\\\/2022\\\/05\\\/usericon_musikzeitung-96x96.jpg\",\"contentUrl\":\"https:\\\/\\\/www.musikzeitung.ch\\\/wp-content\\\/uploads\\\/2022\\\/05\\\/usericon_musikzeitung-96x96.jpg\",\"caption\":\"Musikzeitung-Redaktion\"},\"url\":\"https:\\\/\\\/www.musikzeitung.ch\\\/en\\\/author\\\/admin\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"\u00abTemperamentvoll\u00bb - Schweizer Musikzeitung","description":"G\u00fcnter Habicht's three-movement piece for clarinet and piano is based on the theory of temperament.","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\/2022\/04\/temperamentvoll\/","og_locale":"en_US","og_type":"article","og_title":"\u00abTemperamentvoll\u00bb - Schweizer Musikzeitung","og_description":"G\u00fcnter Habichts dreis\u00e4tziges St\u00fcck f\u00fcr Klarinette und Klavier orientiert sich an der Temperamentenlehre.","og_url":"https:\/\/www.musikzeitung.ch\/en\/rezensionen\/noten-rezensionen\/2022\/04\/temperamentvoll\/","og_site_name":"Schweizer Musikzeitung","article_publisher":"https:\/\/www.facebook.com\/SchweizerMusikzeitung\/","article_published_time":"2022-04-26T23:00:00+00:00","article_modified_time":"2024-08-22T12:12:27+00:00","og_image":[{"width":554,"height":253,"url":"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/TemperamentePS-Kopie-2.png","type":"image\/png"}],"author":"Musikzeitung-Redaktion","twitter_card":"summary_large_image","twitter_creator":"@smusikzeitung","twitter_site":"@smusikzeitung","twitter_misc":{"Written by":"Musikzeitung-Redaktion","Est. reading time":"3 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.musikzeitung.ch\/rezensionen\/noten-rezensionen\/2022\/04\/temperamentvoll#article","isPartOf":{"@id":"https:\/\/www.musikzeitung.ch\/rezensionen\/noten-rezensionen\/2022\/04\/temperamentvoll"},"author":{"name":"Musikzeitung-Redaktion","@id":"https:\/\/www.musikzeitung.ch\/#\/schema\/person\/b2fd892c800856270b9dcc6001265712"},"headline":"\u00abTemperamentvoll\u00bb","datePublished":"2022-04-26T23:00:00+00:00","dateModified":"2024-08-22T12:12:27+00:00","mainEntityOfPage":{"@id":"https:\/\/www.musikzeitung.ch\/rezensionen\/noten-rezensionen\/2022\/04\/temperamentvoll"},"wordCount":291,"publisher":{"@id":"https:\/\/www.musikzeitung.ch\/#organization"},"image":{"@id":"https:\/\/www.musikzeitung.ch\/rezensionen\/noten-rezensionen\/2022\/04\/temperamentvoll#primaryimage"},"thumbnailUrl":"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/TemperamentePS-Kopie-2.png","keywords":["G\u00fcnter Habicht","Klarinette"],"articleSection":["Noten","Rezensionen"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.musikzeitung.ch\/rezensionen\/noten-rezensionen\/2022\/04\/temperamentvoll","url":"https:\/\/www.musikzeitung.ch\/rezensionen\/noten-rezensionen\/2022\/04\/temperamentvoll","name":"\u00abTemperamentvoll\u00bb - Schweizer Musikzeitung","isPartOf":{"@id":"https:\/\/www.musikzeitung.ch\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.musikzeitung.ch\/rezensionen\/noten-rezensionen\/2022\/04\/temperamentvoll#primaryimage"},"image":{"@id":"https:\/\/www.musikzeitung.ch\/rezensionen\/noten-rezensionen\/2022\/04\/temperamentvoll#primaryimage"},"thumbnailUrl":"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/TemperamentePS-Kopie-2.png","datePublished":"2022-04-26T23:00:00+00:00","dateModified":"2024-08-22T12:12:27+00:00","description":"G\u00fcnter Habicht's three-movement piece for clarinet and piano is based on the theory of temperament.","breadcrumb":{"@id":"https:\/\/www.musikzeitung.ch\/rezensionen\/noten-rezensionen\/2022\/04\/temperamentvoll#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.musikzeitung.ch\/rezensionen\/noten-rezensionen\/2022\/04\/temperamentvoll"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.musikzeitung.ch\/rezensionen\/noten-rezensionen\/2022\/04\/temperamentvoll#primaryimage","url":"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/TemperamentePS-Kopie-2.png","contentUrl":"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/TemperamentePS-Kopie-2.png","width":554,"height":253},{"@type":"BreadcrumbList","@id":"https:\/\/www.musikzeitung.ch\/rezensionen\/noten-rezensionen\/2022\/04\/temperamentvoll#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.musikzeitung.ch\/"},{"@type":"ListItem","position":2,"name":"\u00abTemperamentvoll\u00bb"}]},{"@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\/b2fd892c800856270b9dcc6001265712","name":"Music newspaper editorial office","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2022\/05\/usericon_musikzeitung-96x96.jpg","url":"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2022\/05\/usericon_musikzeitung-96x96.jpg","contentUrl":"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2022\/05\/usericon_musikzeitung-96x96.jpg","caption":"Musikzeitung-Redaktion"},"url":"https:\/\/www.musikzeitung.ch\/en\/author\/admin"}]}},"publishpress_future_workflow_manual_trigger":{"enabledWorkflows":[]},"_links":{"self":[{"href":"https:\/\/www.musikzeitung.ch\/en\/wp-json\/wp\/v2\/posts\/6564","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\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.musikzeitung.ch\/en\/wp-json\/wp\/v2\/comments?post=6564"}],"version-history":[{"count":4,"href":"https:\/\/www.musikzeitung.ch\/en\/wp-json\/wp\/v2\/posts\/6564\/revisions"}],"predecessor-version":[{"id":57031,"href":"https:\/\/www.musikzeitung.ch\/en\/wp-json\/wp\/v2\/posts\/6564\/revisions\/57031"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.musikzeitung.ch\/en\/wp-json\/wp\/v2\/media\/6565"}],"wp:attachment":[{"href":"https:\/\/www.musikzeitung.ch\/en\/wp-json\/wp\/v2\/media?parent=6564"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.musikzeitung.ch\/en\/wp-json\/wp\/v2\/categories?post=6564"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.musikzeitung.ch\/en\/wp-json\/wp\/v2\/tags?post=6564"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}