{"id":10636,"date":"2018-08-05T13:36:59","date_gmt":"2018-08-05T20:36:59","guid":{"rendered":"http:\/\/classicalguitarmagazine.com\/?p=10636"},"modified":"2018-08-05T13:36:59","modified_gmt":"2018-08-05T20:36:59","slug":"romero-sunday-5-celin-and-celino-romero-play-granados-danza-espanola-no-2-oriental","status":"publish","type":"post","link":"https:\/\/classicalguitarmagazine.com\/romero-sunday-5-celin-and-celino-romero-play-granados-danza-espanola-no-2-oriental\/","title":{"rendered":"Romero Sunday #5: Celin and Celino Romero Play Granados&#8217; &#8216;Danza Espa\u00f1ola No. 2 (Oriental)&#8217;"},"content":{"rendered":"<p>In what is billed on the video as the debut performance of the father-son duo of Celin and Celino Romero in\u00a0 November 2013, the pair play a pretty and graceful version of Enrique Granados&#8217; <em>Danza Espa\u00f1ola No. 2 (Oriental). <\/em>Celin is the oldest of the three brothers who, with their father Celedonio, comprised the original Los Romeros quartet. (Pepe and Angel are the second third oldest respectively.) Celino came into the quartet after the departure of Angel in 1990, and Angel&#8217;s talented son Lito joined shortly before Celedonio&#8217;s passing of in 1996. <em><br \/>\n<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>In what is billed on the video as the debut performance of the father-son duo of Celin and Celino Romero in\u00a0 November 2013, the pair play a pretty and graceful version of Enrique Granados&#8217; Danza Espa\u00f1ola No. 2 (Oriental). Celin is the oldest of the three brothers who, with their father Celedonio, comprised the original Los Romeros quartet. (Pepe and Angel are the second third oldest respectively.) Celino came into the quartet after the departure of Angel in 1990, and [&hellip;]<\/p>\n","protected":false},"author":11,"featured_media":10638,"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":[6,7],"tags":[],"class_list":["post-10636","post","type-post","status-publish","format-video","has-post-thumbnail","hentry","category-news","category-watch","post_format-post-format-video"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2018\/08\/celino.jpg?fit=810%2C664&ssl=1","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/10636","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=10636"}],"version-history":[{"count":0,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/10636\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media\/10638"}],"wp:attachment":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media?parent=10636"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/categories?post=10636"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/tags?post=10636"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}