{"id":7995,"date":"2022-01-19T00:00:00","date_gmt":"2022-01-18T23:00:00","guid":{"rendered":"https:\/\/www.musikzeitung.ch\/allgemein\/aufmuepfige-neuinterpretation\/"},"modified":"2024-09-30T15:05:17","modified_gmt":"2024-09-30T13:05:17","slug":"aufmuepfige-neuinterpretation","status":"publish","type":"post","link":"https:\/\/www.musikzeitung.ch\/it\/rezensionen\/tontraeger-rezensionen\/2022\/01\/aufmuepfige-neuinterpretation","title":{"rendered":"Reinterpretazione ribelle"},"content":{"rendered":"<figure style=\"width: 554px\" class=\"wp-caption alignnone\"><img decoding=\"async\" src=\"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/theleme_susanna_drescher.jpg\" alt=\"\" width=\"554\" height=\"369\" \/><figcaption class=\"wp-caption-text\">Ensemble Th\u00e9l\u00e8me. Foto: Susanna Drescher<\/figcaption><\/figure>\n<div class=\"text-section\">\n<p>Josquin Desprez, \"il maestro della musica\", come lo chiamava Lutero, \u00e8 stato uno dei primi compositori a vietare espressamente ai cantanti di arricchire i propri brani con ornamenti e improvvisazioni. \u00c8 forse questa autorit\u00e0 smodata il motivo per cui due ensemble sembrano ora sfidarlo in modo irrispettoso? Un CD presenta il famoso ritratto, anche se la testa di Josquin \u00e8 stata sostituita da un teschio. <em>Josquin il non morto<\/em> \u00e8 il titolo della selezione di danze di morte e lamentazioni dell'ensemble belga Graindelavoix (Glossa GCDP32117). La loro esecuzione \u00e8 sonicamente densa e appassionatamente languida. Ma c'\u00e8 anche molto rispetto in tutto questo, perch\u00e9 Josquin \u00e8 un revenant che non pu\u00f2 essere ucciso.<\/p>\n<p>Questa vivacit\u00e0 caratterizza anche l'approccio ribelle del CD dell'ensemble basilese Th\u00e9l\u00e8me. Il titolo <em>Baisiez moy<\/em> pu\u00f2 essere inteso in modo piuttosto osceno. Ancora pi\u00f9 sorprendenti, tuttavia, sono gli arrangiamenti di alcuni brani. Quando <em>La Bernardina<\/em> \u00e8 eseguito da due liuti, questo \u00e8 storicamente giustificabile; se in <em>Qui belles amours<\/em> il liuto e il Fender Rhodes, quella tastiera quasi leggendaria degli anni Sessanta, si aggiungono alle quattro parti vocali o in <em>Ninfe dei boschi<\/em>La decorazione della morte di Ockeghem, anche quella delle Ondes Martenot, \u00e8 sacrilega. Nessuna informazione storica e nessuna autenticit\u00e0 proteggono un simile allestimento. Ma \u00e8 proprio questo che la rende cos\u00ec fresca e sfrontata. Si tratta di un approccio contemporaneo che trova continuit\u00e0 nel vivace stile esecutivo, che tende alla fragilit\u00e0. Entrambi gli ensemble non coltivano uno stile raffinato. Tra l'altro, gli approcci interpretativi difficilmente potrebbero essere pi\u00f9 contrastanti: Mentre la chanson in particolare <em>Baisiez moy<\/em> Mentre la musica di Graindelavoix diventa un flusso sonoro ampio e ornato, quella dell'Ensemble Th\u00e9l\u00e8me rimane divertente e diretta. C'est \u00e0 vous, Ma\u00eetre Josquin, de choisir!<\/p>\n<div class=\"text-section\">\n<dl class=\"picture media photo\">\n<dt><img decoding=\"async\" class=\"media photo aligncenter\" src=\"https:\/\/old.musikzeitung.ch\/imaging\/stk\/musikzeitung\/article-image-left\/website\/de\/rezensionen\/tontraeger\/2022\/01_02\/josquin\/content\/01\/imageBinary\/01_crit_cd_Meyer_.jpg\" alt=\"Image \" \/><\/dt>\n<\/dl>\n<\/div>\n<div class=\"text-section\">\n<p><em>Josquin Desprez: Baisiez moy. Th\u00e9l\u00e8me; Jean-Christophe Groffe. Apart\u00e9 Music AP 259<\/em><\/p>\n<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"<p><strong>L'Ensemble Th\u00e9l\u00e8me ha incorporato strumenti come il Fender Rhodes o gli Ondes Martenot nelle sue interpretazioni di Josquin.<\/strong><\/p>","protected":false},"author":1,"featured_media":7996,"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":[29,1420],"tags":[],"class_list":["post-7995","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-rezensionen","category-tontraeger-rezensionen"],"acf":{"author":"Thomas Meyer"},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.2 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Aufm\u00fcpfige Neuinterpretation - Schweizer Musikzeitung<\/title>\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\/it\/rezensionen\/tontraeger-rezensionen\/2022\/01\/aufmuepfige-neuinterpretation\/\" \/>\n<meta property=\"og:locale\" content=\"it_IT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Aufm\u00fcpfige Neuinterpretation - Schweizer Musikzeitung\" \/>\n<meta property=\"og:description\" content=\"Das Ensemble Th\u00e9l\u00e8me hat Instrumente wie das Fender Rhodes oder Ondes Martenot in seine Josquin-Interpretationen eingebaut.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.musikzeitung.ch\/it\/rezensionen\/tontraeger-rezensionen\/2022\/01\/aufmuepfige-neuinterpretation\/\" \/>\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=\"2022-01-18T23:00:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-09-30T13:05:17+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/theleme_susanna_drescher.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"554\" \/>\n\t<meta property=\"og:image:height\" content=\"369\" \/>\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=\"Scritto da\" \/>\n\t<meta name=\"twitter:data1\" content=\"Musikzeitung-Redaktion\" \/>\n\t<meta name=\"twitter:label2\" content=\"Tempo di lettura stimato\" \/>\n\t<meta name=\"twitter:data2\" content=\"3 minuti\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/rezensionen\\\/tontraeger-rezensionen\\\/2022\\\/01\\\/aufmuepfige-neuinterpretation#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/rezensionen\\\/tontraeger-rezensionen\\\/2022\\\/01\\\/aufmuepfige-neuinterpretation\"},\"author\":{\"name\":\"Musikzeitung-Redaktion\",\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/#\\\/schema\\\/person\\\/b2fd892c800856270b9dcc6001265712\"},\"headline\":\"Aufm\u00fcpfige Neuinterpretation\",\"datePublished\":\"2022-01-18T23:00:00+00:00\",\"dateModified\":\"2024-09-30T13:05:17+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/rezensionen\\\/tontraeger-rezensionen\\\/2022\\\/01\\\/aufmuepfige-neuinterpretation\"},\"wordCount\":336,\"publisher\":{\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/rezensionen\\\/tontraeger-rezensionen\\\/2022\\\/01\\\/aufmuepfige-neuinterpretation#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/www.musikzeitung.ch\\\/wp-content\\\/uploads\\\/2023\\\/01\\\/theleme_susanna_drescher.jpg\",\"articleSection\":[\"Rezensionen\",\"Tontr\u00e4ger\"],\"inLanguage\":\"it-IT\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/rezensionen\\\/tontraeger-rezensionen\\\/2022\\\/01\\\/aufmuepfige-neuinterpretation\",\"url\":\"https:\\\/\\\/www.musikzeitung.ch\\\/rezensionen\\\/tontraeger-rezensionen\\\/2022\\\/01\\\/aufmuepfige-neuinterpretation\",\"name\":\"Aufm\u00fcpfige Neuinterpretation - Schweizer Musikzeitung\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/rezensionen\\\/tontraeger-rezensionen\\\/2022\\\/01\\\/aufmuepfige-neuinterpretation#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/rezensionen\\\/tontraeger-rezensionen\\\/2022\\\/01\\\/aufmuepfige-neuinterpretation#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/www.musikzeitung.ch\\\/wp-content\\\/uploads\\\/2023\\\/01\\\/theleme_susanna_drescher.jpg\",\"datePublished\":\"2022-01-18T23:00:00+00:00\",\"dateModified\":\"2024-09-30T13:05:17+00:00\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/rezensionen\\\/tontraeger-rezensionen\\\/2022\\\/01\\\/aufmuepfige-neuinterpretation#breadcrumb\"},\"inLanguage\":\"it-IT\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/www.musikzeitung.ch\\\/rezensionen\\\/tontraeger-rezensionen\\\/2022\\\/01\\\/aufmuepfige-neuinterpretation\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"it-IT\",\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/rezensionen\\\/tontraeger-rezensionen\\\/2022\\\/01\\\/aufmuepfige-neuinterpretation#primaryimage\",\"url\":\"https:\\\/\\\/www.musikzeitung.ch\\\/wp-content\\\/uploads\\\/2023\\\/01\\\/theleme_susanna_drescher.jpg\",\"contentUrl\":\"https:\\\/\\\/www.musikzeitung.ch\\\/wp-content\\\/uploads\\\/2023\\\/01\\\/theleme_susanna_drescher.jpg\",\"width\":554,\"height\":369},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/rezensionen\\\/tontraeger-rezensionen\\\/2022\\\/01\\\/aufmuepfige-neuinterpretation#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/www.musikzeitung.ch\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Aufm\u00fcpfige Neuinterpretation\"}]},{\"@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\":\"it-IT\"},{\"@type\":\"Organization\",\"@id\":\"https:\\\/\\\/www.musikzeitung.ch\\\/#organization\",\"name\":\"Schweizer Musikzeitung\",\"url\":\"https:\\\/\\\/www.musikzeitung.ch\\\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"it-IT\",\"@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\":\"it-IT\",\"@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\\\/it\\\/author\\\/admin\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Una reinterpretazione ribelle - Rivista musicale svizzera","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\/it\/rezensionen\/tontraeger-rezensionen\/2022\/01\/aufmuepfige-neuinterpretation\/","og_locale":"it_IT","og_type":"article","og_title":"Aufm\u00fcpfige Neuinterpretation - Schweizer Musikzeitung","og_description":"Das Ensemble Th\u00e9l\u00e8me hat Instrumente wie das Fender Rhodes oder Ondes Martenot in seine Josquin-Interpretationen eingebaut.","og_url":"https:\/\/www.musikzeitung.ch\/it\/rezensionen\/tontraeger-rezensionen\/2022\/01\/aufmuepfige-neuinterpretation\/","og_site_name":"Schweizer Musikzeitung","article_publisher":"https:\/\/www.facebook.com\/SchweizerMusikzeitung\/","article_published_time":"2022-01-18T23:00:00+00:00","article_modified_time":"2024-09-30T13:05:17+00:00","og_image":[{"width":554,"height":369,"url":"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/theleme_susanna_drescher.jpg","type":"image\/jpeg"}],"author":"Musikzeitung-Redaktion","twitter_card":"summary_large_image","twitter_creator":"@smusikzeitung","twitter_site":"@smusikzeitung","twitter_misc":{"Scritto da":"Musikzeitung-Redaktion","Tempo di lettura stimato":"3 minuti"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.musikzeitung.ch\/rezensionen\/tontraeger-rezensionen\/2022\/01\/aufmuepfige-neuinterpretation#article","isPartOf":{"@id":"https:\/\/www.musikzeitung.ch\/rezensionen\/tontraeger-rezensionen\/2022\/01\/aufmuepfige-neuinterpretation"},"author":{"name":"Musikzeitung-Redaktion","@id":"https:\/\/www.musikzeitung.ch\/#\/schema\/person\/b2fd892c800856270b9dcc6001265712"},"headline":"Aufm\u00fcpfige Neuinterpretation","datePublished":"2022-01-18T23:00:00+00:00","dateModified":"2024-09-30T13:05:17+00:00","mainEntityOfPage":{"@id":"https:\/\/www.musikzeitung.ch\/rezensionen\/tontraeger-rezensionen\/2022\/01\/aufmuepfige-neuinterpretation"},"wordCount":336,"publisher":{"@id":"https:\/\/www.musikzeitung.ch\/#organization"},"image":{"@id":"https:\/\/www.musikzeitung.ch\/rezensionen\/tontraeger-rezensionen\/2022\/01\/aufmuepfige-neuinterpretation#primaryimage"},"thumbnailUrl":"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/theleme_susanna_drescher.jpg","articleSection":["Rezensionen","Tontr\u00e4ger"],"inLanguage":"it-IT"},{"@type":"WebPage","@id":"https:\/\/www.musikzeitung.ch\/rezensionen\/tontraeger-rezensionen\/2022\/01\/aufmuepfige-neuinterpretation","url":"https:\/\/www.musikzeitung.ch\/rezensionen\/tontraeger-rezensionen\/2022\/01\/aufmuepfige-neuinterpretation","name":"Una reinterpretazione ribelle - Rivista musicale svizzera","isPartOf":{"@id":"https:\/\/www.musikzeitung.ch\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.musikzeitung.ch\/rezensionen\/tontraeger-rezensionen\/2022\/01\/aufmuepfige-neuinterpretation#primaryimage"},"image":{"@id":"https:\/\/www.musikzeitung.ch\/rezensionen\/tontraeger-rezensionen\/2022\/01\/aufmuepfige-neuinterpretation#primaryimage"},"thumbnailUrl":"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/theleme_susanna_drescher.jpg","datePublished":"2022-01-18T23:00:00+00:00","dateModified":"2024-09-30T13:05:17+00:00","breadcrumb":{"@id":"https:\/\/www.musikzeitung.ch\/rezensionen\/tontraeger-rezensionen\/2022\/01\/aufmuepfige-neuinterpretation#breadcrumb"},"inLanguage":"it-IT","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.musikzeitung.ch\/rezensionen\/tontraeger-rezensionen\/2022\/01\/aufmuepfige-neuinterpretation"]}]},{"@type":"ImageObject","inLanguage":"it-IT","@id":"https:\/\/www.musikzeitung.ch\/rezensionen\/tontraeger-rezensionen\/2022\/01\/aufmuepfige-neuinterpretation#primaryimage","url":"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/theleme_susanna_drescher.jpg","contentUrl":"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/theleme_susanna_drescher.jpg","width":554,"height":369},{"@type":"BreadcrumbList","@id":"https:\/\/www.musikzeitung.ch\/rezensionen\/tontraeger-rezensionen\/2022\/01\/aufmuepfige-neuinterpretation#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.musikzeitung.ch\/"},{"@type":"ListItem","position":2,"name":"Aufm\u00fcpfige Neuinterpretation"}]},{"@type":"WebSite","@id":"https:\/\/www.musikzeitung.ch\/#website","url":"https:\/\/www.musikzeitung.ch\/","name":"Giornale musicale svizzero","description":"Il principale mensile interdisciplinare della Svizzera per le questioni musicali.","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":"it-IT"},{"@type":"Organization","@id":"https:\/\/www.musikzeitung.ch\/#organization","name":"Giornale musicale svizzero","url":"https:\/\/www.musikzeitung.ch\/","logo":{"@type":"ImageObject","inLanguage":"it-IT","@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":"Redazione Musikzeitung","image":{"@type":"ImageObject","inLanguage":"it-IT","@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\/it\/author\/admin"}]}},"publishpress_future_workflow_manual_trigger":{"enabledWorkflows":[]},"_links":{"self":[{"href":"https:\/\/www.musikzeitung.ch\/it\/wp-json\/wp\/v2\/posts\/7995","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.musikzeitung.ch\/it\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.musikzeitung.ch\/it\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.musikzeitung.ch\/it\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.musikzeitung.ch\/it\/wp-json\/wp\/v2\/comments?post=7995"}],"version-history":[{"count":2,"href":"https:\/\/www.musikzeitung.ch\/it\/wp-json\/wp\/v2\/posts\/7995\/revisions"}],"predecessor-version":[{"id":58643,"href":"https:\/\/www.musikzeitung.ch\/it\/wp-json\/wp\/v2\/posts\/7995\/revisions\/58643"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.musikzeitung.ch\/it\/wp-json\/wp\/v2\/media\/7996"}],"wp:attachment":[{"href":"https:\/\/www.musikzeitung.ch\/it\/wp-json\/wp\/v2\/media?parent=7995"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.musikzeitung.ch\/it\/wp-json\/wp\/v2\/categories?post=7995"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.musikzeitung.ch\/it\/wp-json\/wp\/v2\/tags?post=7995"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}