{"id":14745,"date":"2020-05-15T17:10:43","date_gmt":"2020-05-16T00:10:43","guid":{"rendered":"https:\/\/classicalguitarmagazine.com\/?p=14745"},"modified":"2020-05-15T17:10:43","modified_gmt":"2020-05-16T00:10:43","slug":"video-pick-of-the-week-thomas-viloteau-plays-his-engaging-piece-irreverente","status":"publish","type":"post","link":"https:\/\/classicalguitarmagazine.com\/video-pick-of-the-week-thomas-viloteau-plays-his-engaging-piece-irreverente\/","title":{"rendered":"Video Pick of the Week: Thomas Viloteau Plays His Engaging Piece &#8216;Irr\u00e9ver\u00e9nte&#8217;"},"content":{"rendered":"<p>The exceptional French guitarist <a href=\"https:\/\/www.tigadorecords.com\/\" target=\"_blank\" rel=\"noopener noreferrer\">Thomas Viloteau<\/a> is a reliable interpreter of just about any style of classical guitar you could name, and is also a fine composer, as he shows with this piece, <em>Irr\u00e9v\u00e9rente<\/em> (which translates to English exactly as you would expect). It conveys a wonderful sense of motion in parts, as well as some interesting chordal moments; all in all; it&#8217;s quite evocative and slightly enigmatic. Which is another reason he is among my favorite players! \u2014<em>Blair Jackson<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>The exceptional French guitarist Thomas Viloteau is a reliable interpreter of just about any style of classical guitar you could name, and is also a fine composer, as he shows with this piece, Irr\u00e9v\u00e9rente (which translates to English exactly as you would expect). It conveys a wonderful sense of motion in parts, as well as some interesting chordal moments; all in all; it&#8217;s quite evocative and slightly enigmatic. Which is another reason he is among my favorite players! \u2014Blair Jackson<\/p>\n","protected":false},"author":11,"featured_media":14747,"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-14745","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\/2020\/05\/thomas-viloteau-e1589587540547.jpg?fit=800%2C601&ssl=1","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/14745","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=14745"}],"version-history":[{"count":0,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/14745\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media\/14747"}],"wp:attachment":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media?parent=14745"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/categories?post=14745"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/tags?post=14745"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}