{"id":13482,"date":"2019-08-08T15:40:14","date_gmt":"2019-08-08T22:40:14","guid":{"rendered":"https:\/\/classicalguitarmagazine.com\/?p=13482"},"modified":"2019-08-08T15:45:55","modified_gmt":"2019-08-08T22:45:55","slug":"video-pick-of-the-week-colin-davin-plays-bach-in-joshia-de-jonges-workshop","status":"publish","type":"post","link":"https:\/\/classicalguitarmagazine.com\/video-pick-of-the-week-colin-davin-plays-bach-in-joshia-de-jonges-workshop\/","title":{"rendered":"Video Pick of the Week: Colin Davin Plays Bach in Joshia de Jonge&#8217;s Workshop"},"content":{"rendered":"<p>Here&#8217;s something a little different. <a href=\"http:\/\/colindavin.com\/\" target=\"_blank\" rel=\"noopener noreferrer\">Colin Davin<\/a>, a Juilliard and USC alumnus who teaches at the Cleveland Institute of Music and the Baldwin Wallace University Conservatory of Music, and has played in all sorts of different ensembles and settings through the years, performs a scintillating version of the &#8220;Gigue&#8221; from J.S. Bach&#8217;s <em>Suite for Cello No. 6, BWV 1012 <\/em>in an unusual setting: the workshop of the renowned Canadian luthier <a href=\"http:\/\/joshiadejonge.com\/\" target=\"_blank\" rel=\"noopener noreferrer\">Joshia de Jonge<\/a>. The video\u2014another by Drew Henderson\u2014intersperses scenes of de Jonge carefully crafting a new classical guitar, with footage of Davin playing the Bach work on one of her exquisite instruments. <em>CG<\/em> <a href=\"https:\/\/classicalguitarmagazine.com\/second-generation-luthier-joshia-de-jonge-was-born-with-woodworking-in-her-blood\/\" target=\"_blank\" rel=\"noopener noreferrer\">profiled de Jonge<\/a> in our <a href=\"https:\/\/store.elizabethl27.sg-host.com\/collections\/back-issues-1\/products\/no-380-winter-2015\" target=\"_blank\" rel=\"noopener noreferrer\">Winter 2015 issue<\/a>.\u00a0 \u2014<em>Blair Jackson<\/em><\/p>\n<figure id=\"attachment_13484\" aria-describedby=\"caption-attachment-13484\" style=\"width: 600px\" class=\"wp-caption alignnone\"><img data-recalc-dims=\"1\" decoding=\"async\" class=\"size-full wp-image-13484\" src=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2019\/08\/joshia-e1565303884193.jpg?resize=600%2C600&#038;ssl=1\" alt=\"\" width=\"600\" height=\"600\" \/><figcaption id=\"caption-attachment-13484\" class=\"wp-caption-text\">Joshia de Jonge at work<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"<p>Here&#8217;s something a little different. Colin Davin, a Juilliard and USC alumnus who teaches at the Cleveland Institute of Music and the Baldwin Wallace University Conservatory of Music, and has played in all sorts of different ensembles and settings through the years, performs a scintillating version of the &#8220;Gigue&#8221; from J.S. Bach&#8217;s Suite for Cello No. 6, BWV 1012 in an unusual setting: the workshop of the renowned Canadian luthier Joshia de Jonge. The video\u2014another by Drew Henderson\u2014intersperses scenes of [&hellip;]<\/p>\n","protected":false},"author":11,"featured_media":13488,"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-13482","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\/2019\/08\/colin-davin-e1565304333782.jpg?fit=800%2C450&ssl=1","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/13482","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=13482"}],"version-history":[{"count":0,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/13482\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media\/13488"}],"wp:attachment":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media?parent=13482"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/categories?post=13482"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/tags?post=13482"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}