{"id":10073,"date":"2018-02-12T12:34:02","date_gmt":"2018-02-12T20:34:02","guid":{"rendered":"http:\/\/classicalguitarmagazine.com\/?p=10073"},"modified":"2018-05-19T17:15:08","modified_gmt":"2018-05-20T00:15:08","slug":"watch-duo-agua-e-vinho-play-rameaus-les-sauvages","status":"publish","type":"post","link":"https:\/\/classicalguitarmagazine.com\/watch-duo-agua-e-vinho-play-rameaus-les-sauvages\/","title":{"rendered":"Watch Duo Agua e Vinho Play Rameau&#8217;s &#8216;Les Sauvages&#8217;"},"content":{"rendered":"<p>The works of French Baroque composer Jean-Philippe Rameau (1683\u20131764; he was a contemporary of Bach) first came into the classical guitar world through transcriptions by Andr\u00e9s Segovia in the late 1930s, and they have been challenging guitarists ever since. This well-known dance piece comes from Rameau&#8217;s 1735 opera-ballet <em>Les indes galantes<\/em>, and it&#8217;s played here by a French guitar duo who go by the name Agua e Vinho (after the popular piece by Brazilian composer Egberto Gismonti)\u2014Pierre Millan-Trescases &amp; R\u00e9gis Daniel, in an arrangement by Daniel. It&#8217;s a jaunty and intricate little work!\u00a0 \u2014<em>Blair Jackson<\/em><\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>The works of French Baroque composer Jean-Philippe Rameau (1683\u20131764; he was a contemporary of Bach) first came into the classical guitar world through transcriptions by Andr\u00e9s Segovia in the late 1930s, and they have been challenging guitarists ever since. This well-known dance piece comes from Rameau&#8217;s 1735 opera-ballet Les indes galantes, and it&#8217;s played here by a French guitar duo who go by the name Agua e Vinho (after the popular piece by Brazilian composer Egberto Gismonti)\u2014Pierre Millan-Trescases &amp; R\u00e9gis [&hellip;]<\/p>\n","protected":false},"author":11,"featured_media":10076,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"video","meta":{"advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[7],"tags":[],"class_list":["post-10073","post","type-post","status-publish","format-video","has-post-thumbnail","hentry","category-watch","post_format-post-format-video"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2018\/02\/agua-e-vinho.jpg?fit=1141%2C900&ssl=1","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/10073","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/users\/11"}],"replies":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/comments?post=10073"}],"version-history":[{"count":0,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/10073\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media\/10076"}],"wp:attachment":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media?parent=10073"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/categories?post=10073"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/tags?post=10073"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}