{"id":8826,"date":"2016-03-02T00:00:00","date_gmt":"2016-03-01T23:00:00","guid":{"rendered":"https:\/\/www.musikzeitung.ch\/allgemein\/im-klang-taumelnd\/"},"modified":"2025-07-23T18:28:43","modified_gmt":"2025-07-23T16:28:43","slug":"im-klang-taumelnd","status":"publish","type":"post","link":"https:\/\/www.musikzeitung.ch\/en\/berichte\/2016\/03\/im-klang-taumelnd","title":{"rendered":"Staggering in sound"},"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\/Oloid.jpg\" alt=\"\" width=\"554\" height=\"295\" \/><figcaption class=\"wp-caption-text\">Rolling bronze oloid on blue pigment. Photo: Paul Schatz Foundation, press kit 2013<\/figcaption><\/figure>\n<div class=\"text-section\">\n<p>Who knows Paul Schatz? He was an artist, scientist and inventor. Schatz was born in Constance on Lake Constance in 1898. In 1927, he moved to Dornach in Switzerland, where he developed, among other things, a so-called oloid - an organic body that is beautiful to look at and even serves a purpose: The oloid can be used to propel ships as well as a device that circulates liquids. Not violently like a fast-turning screw, but very gently, organically.<\/p>\n<p>That sounds more like stone anthroposophy and mechanics than music. The Ensemble Neue Horizonte Bern builds a bridge to Schatz and his oloid with the concert motto: \"Dynamics in the river\", and the program note explains further: \"All compositions deal with the thematic complexes of river-water-port, but also current-lock-trade transshipment point-swans-Rhine, Danube, Vltava and other near or remote places.\" With an unmistakable nod to the Czech composer Bed\u0159ich Smetana, the ensemble's pianist Erika Radermacher named her piece for quintet and tape, written in 1984 <em>The Moldau<\/em>. Urs Peter Schneider composed 2003 <em>Element water<\/em> for bassoon and accompaniment, plus <em>Beautiful blue Danube<\/em> in the form of a tape piece by the Polish composer Joanna Bruzdowicz and <em>Le Rhin Allemand<\/em>which Roland Moser wrote for piano as a member of the ensemble.\n<\/div>\n<div>\n<h3 class=\"\">Strengths and weaknesses<\/h3>\n<\/div>\n<div class=\"text-section\">\n<p>The Ensemble Neue Horizonte Bern has been known for its composed programs since the late 1960s. At the Duisburg Inland Waterways Museum, they also create something \"in the river\". There are pieces by members of the ensemble and compositions by conceptually oriented English composers. The pieces mostly flow seamlessly, attacca, into one another. They are very different, including some bizarre pieces as well as stronger and weaker ones. The charm of an explanation of a lock remains hidden, which Erika Radermacher explains to the 30 or so visitors in the style of a primary school teacher. Many a realization of text scores, i.e. verbose musical instructions, also tastes stale... and radiates little vitality. More convincing are the strict and very densely composed works by ensemble director Urs Peter Schneider. Only playful on the surface <em>Element water<\/em>whose tone is perfectly captured by bassoonist Marc Kilchenmann. Schneider's piano piece <em>White darkness<\/em> is convincing - despite being played on an electric piano, which simply sounds alien to art.<br \/>\nIt would be wrong to judge a concert by the Ensemble Neue Horizonte Bern solely on the quality of individual pieces. It would be better to let yourself be carried away by the events, to discover a little story here or there, to get involved in the questions and riddles that some radical works or the concert flow as a whole reveal. But immersion is not possible in Duisburg. This is not due to the music or the musicians, but to the accompanying circumstances. An electric piano - especially a cheap one - is an imposition for pianists and listeners alike. In addition, there is a room that may be suitable for acoustic experiments and as an exhibition space, but not for concerts. The reverberation in the vault is enormous. Especially for the ensemble's objective approach, it is more than just counterproductive when a staccato becomes a legato, when some frequencies overlap in such a way that it makes the listener's head spin.\n<\/div>\n<div>\n<h3 class=\"\">A sonic life of its own<\/h3>\n<\/div>\n<div class=\"text-section\">\n<p>The piece<em> Swell Piece<\/em>written by Englishman James Tenney for Melodicas in 1967, develops a special momentum of its own under these conditions. The overtones overlap piercingly, resounding shrilly in the head. The \"tumbling movement of the oloid\" was to be adapted to the variable concert program that the ensemble gave on its tour, each time in a different order of pieces. What remained in Duisburg was an audience reeling in the sound - and the simple realization that music does not tolerate every space. Hopefully under better conditions, \"Dynamik im Fluss\" can be heard again: on Sunday, March 6, in Untersiggenthal (Garnhaus am Wasserschloss) and in Biel on Monday, May 2, at Atelier Pia Maria.<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p><strong>\"Dynamics in flux\" is the motto of a concert by the Ensemble Neue Horizonte Bern at the Duisburg Maritime Museum, which alludes to the oloid, an organic body developed by Paul Schatz. The concert will be repeated in Untersiggenthal on March 6 and in Biel on May 2.<\/strong><\/p>","protected":false},"author":1,"featured_media":8827,"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":[1531,28],"tags":[5174,5176,5177,5175],"class_list":["post-8826","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-auffuehrungen","category-berichte","tag-ensemble-neue-horizonte-bern","tag-erika-radermacher","tag-paul-schatz","tag-urs-peter-schneider"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Im Klang taumelnd - Schweizer Musikzeitung<\/title>\n<meta name=\"description\" content=\"\u00abDynamik im Fluss\u00bb heisst das Motto eines Konzerts des Ensembles Neue Horizonte Bern im Duisburger Schifffahrtsmuseum, das auf das Oloid, einem von Paul Schatz entwickelten organischen K\u00f6rper, anspielt.\" \/>\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\/berichte\/2016\/03\/im-klang-taumelnd\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Im Klang taumelnd - Schweizer Musikzeitung\" \/>\n<meta property=\"og:description\" content=\"\u00abDynamik im Fluss\u00bb heisst das Motto eines Konzerts des Ensembles Neue Horizonte Bern im Duisburger Schifffahrtsmuseum, das auf das Oloid, einem von Paul Schatz entwickelten organischen K\u00f6rper, anspielt.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.musikzeitung.ch\/en\/berichte\/2016\/03\/im-klang-taumelnd\/\" \/>\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=\"2016-03-01T23:00:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2025-07-23T16:28:43+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/Oloid.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"554\" \/>\n\t<meta property=\"og:image:height\" content=\"295\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\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=\"4 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/berichte\\\/2016\\\/03\\\/im-klang-taumelnd#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/berichte\\\/2016\\\/03\\\/im-klang-taumelnd\"},\"author\":{\"name\":\"Musikzeitung-Redaktion\",\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/#\\\/schema\\\/person\\\/b2fd892c800856270b9dcc6001265712\"},\"headline\":\"Im Klang taumelnd\",\"datePublished\":\"2016-03-01T23:00:00+00:00\",\"dateModified\":\"2025-07-23T16:28:43+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/berichte\\\/2016\\\/03\\\/im-klang-taumelnd\"},\"wordCount\":634,\"publisher\":{\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/berichte\\\/2016\\\/03\\\/im-klang-taumelnd#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/www.musikzeitung.ch\\\/wp-content\\\/uploads\\\/2023\\\/01\\\/Oloid.jpg\",\"keywords\":[\"Ensemble Neue Horizonte Bern\",\"Erika Radermacher\",\"Paul Schatz\",\"Urs Peter Schneider\"],\"articleSection\":[\"Auff\u00fchrungen\",\"Berichte\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/berichte\\\/2016\\\/03\\\/im-klang-taumelnd\",\"url\":\"https:\\\/\\\/www.musikzeitung.ch\\\/berichte\\\/2016\\\/03\\\/im-klang-taumelnd\",\"name\":\"Im Klang taumelnd - Schweizer Musikzeitung\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/berichte\\\/2016\\\/03\\\/im-klang-taumelnd#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/berichte\\\/2016\\\/03\\\/im-klang-taumelnd#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/www.musikzeitung.ch\\\/wp-content\\\/uploads\\\/2023\\\/01\\\/Oloid.jpg\",\"datePublished\":\"2016-03-01T23:00:00+00:00\",\"dateModified\":\"2025-07-23T16:28:43+00:00\",\"description\":\"\u00abDynamik im Fluss\u00bb heisst das Motto eines Konzerts des Ensembles Neue Horizonte Bern im Duisburger Schifffahrtsmuseum, das auf das Oloid, einem von Paul Schatz entwickelten organischen K\u00f6rper, anspielt.\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/berichte\\\/2016\\\/03\\\/im-klang-taumelnd#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/www.musikzeitung.ch\\\/berichte\\\/2016\\\/03\\\/im-klang-taumelnd\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/berichte\\\/2016\\\/03\\\/im-klang-taumelnd#primaryimage\",\"url\":\"https:\\\/\\\/www.musikzeitung.ch\\\/wp-content\\\/uploads\\\/2023\\\/01\\\/Oloid.jpg\",\"contentUrl\":\"https:\\\/\\\/www.musikzeitung.ch\\\/wp-content\\\/uploads\\\/2023\\\/01\\\/Oloid.jpg\",\"width\":554,\"height\":295},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/berichte\\\/2016\\\/03\\\/im-klang-taumelnd#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/www.musikzeitung.ch\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Im Klang taumelnd\"}]},{\"@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":"Staggering in sound - Schweizer Musikzeitung","description":"\u00abDynamics in flux\u00bb is the motto of a concert by the Ensemble Neue Horizonte Bern at the Duisburg Maritime Museum, which alludes to the oloid, an organic body developed by Paul Schatz.","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\/berichte\/2016\/03\/im-klang-taumelnd\/","og_locale":"en_US","og_type":"article","og_title":"Im Klang taumelnd - Schweizer Musikzeitung","og_description":"\u00abDynamik im Fluss\u00bb heisst das Motto eines Konzerts des Ensembles Neue Horizonte Bern im Duisburger Schifffahrtsmuseum, das auf das Oloid, einem von Paul Schatz entwickelten organischen K\u00f6rper, anspielt.","og_url":"https:\/\/www.musikzeitung.ch\/en\/berichte\/2016\/03\/im-klang-taumelnd\/","og_site_name":"Schweizer Musikzeitung","article_publisher":"https:\/\/www.facebook.com\/SchweizerMusikzeitung\/","article_published_time":"2016-03-01T23:00:00+00:00","article_modified_time":"2025-07-23T16:28:43+00:00","og_image":[{"width":554,"height":295,"url":"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/Oloid.jpg","type":"image\/jpeg"}],"author":"Musikzeitung-Redaktion","twitter_card":"summary_large_image","twitter_creator":"@smusikzeitung","twitter_site":"@smusikzeitung","twitter_misc":{"Written by":"Musikzeitung-Redaktion","Est. reading time":"4 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.musikzeitung.ch\/berichte\/2016\/03\/im-klang-taumelnd#article","isPartOf":{"@id":"https:\/\/www.musikzeitung.ch\/berichte\/2016\/03\/im-klang-taumelnd"},"author":{"name":"Musikzeitung-Redaktion","@id":"https:\/\/www.musikzeitung.ch\/#\/schema\/person\/b2fd892c800856270b9dcc6001265712"},"headline":"Im Klang taumelnd","datePublished":"2016-03-01T23:00:00+00:00","dateModified":"2025-07-23T16:28:43+00:00","mainEntityOfPage":{"@id":"https:\/\/www.musikzeitung.ch\/berichte\/2016\/03\/im-klang-taumelnd"},"wordCount":634,"publisher":{"@id":"https:\/\/www.musikzeitung.ch\/#organization"},"image":{"@id":"https:\/\/www.musikzeitung.ch\/berichte\/2016\/03\/im-klang-taumelnd#primaryimage"},"thumbnailUrl":"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/Oloid.jpg","keywords":["Ensemble Neue Horizonte Bern","Erika Radermacher","Paul Schatz","Urs Peter Schneider"],"articleSection":["Auff\u00fchrungen","Berichte"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.musikzeitung.ch\/berichte\/2016\/03\/im-klang-taumelnd","url":"https:\/\/www.musikzeitung.ch\/berichte\/2016\/03\/im-klang-taumelnd","name":"Staggering in sound - Schweizer Musikzeitung","isPartOf":{"@id":"https:\/\/www.musikzeitung.ch\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.musikzeitung.ch\/berichte\/2016\/03\/im-klang-taumelnd#primaryimage"},"image":{"@id":"https:\/\/www.musikzeitung.ch\/berichte\/2016\/03\/im-klang-taumelnd#primaryimage"},"thumbnailUrl":"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/Oloid.jpg","datePublished":"2016-03-01T23:00:00+00:00","dateModified":"2025-07-23T16:28:43+00:00","description":"\u00abDynamics in flux\u00bb is the motto of a concert by the Ensemble Neue Horizonte Bern at the Duisburg Maritime Museum, which alludes to the oloid, an organic body developed by Paul Schatz.","breadcrumb":{"@id":"https:\/\/www.musikzeitung.ch\/berichte\/2016\/03\/im-klang-taumelnd#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.musikzeitung.ch\/berichte\/2016\/03\/im-klang-taumelnd"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.musikzeitung.ch\/berichte\/2016\/03\/im-klang-taumelnd#primaryimage","url":"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/Oloid.jpg","contentUrl":"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/Oloid.jpg","width":554,"height":295},{"@type":"BreadcrumbList","@id":"https:\/\/www.musikzeitung.ch\/berichte\/2016\/03\/im-klang-taumelnd#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.musikzeitung.ch\/"},{"@type":"ListItem","position":2,"name":"Im Klang taumelnd"}]},{"@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\/8826","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=8826"}],"version-history":[{"count":2,"href":"https:\/\/www.musikzeitung.ch\/en\/wp-json\/wp\/v2\/posts\/8826\/revisions"}],"predecessor-version":[{"id":66598,"href":"https:\/\/www.musikzeitung.ch\/en\/wp-json\/wp\/v2\/posts\/8826\/revisions\/66598"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.musikzeitung.ch\/en\/wp-json\/wp\/v2\/media\/8827"}],"wp:attachment":[{"href":"https:\/\/www.musikzeitung.ch\/en\/wp-json\/wp\/v2\/media?parent=8826"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.musikzeitung.ch\/en\/wp-json\/wp\/v2\/categories?post=8826"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.musikzeitung.ch\/en\/wp-json\/wp\/v2\/tags?post=8826"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}