{"id":2189,"date":"2015-07-07T15:05:41","date_gmt":"2015-07-07T22:05:41","guid":{"rendered":"http:\/\/classicalguitarmagazine.com\/?p=2189"},"modified":"2015-07-22T14:20:56","modified_gmt":"2015-07-22T21:20:56","slug":"grammy-winner-jason-vieaux-is-always-looking-for-new-challenges","status":"publish","type":"post","link":"https:\/\/classicalguitarmagazine.com\/grammy-winner-jason-vieaux-is-always-looking-for-new-challenges\/","title":{"rendered":"Grammy-Winner Jason Vieaux is Always Looking for New Challenges"},"content":{"rendered":"<h2><img data-recalc-dims=\"1\" decoding=\"async\" class=\"alignnone\" src=\"https:\/\/i0.wp.com\/www.jasonvieaux.com\/Images\/Gallery72\/Jason2010-14.jpg?resize=600%2C399\" alt=\"\" width=\"600\" height=\"399\" \/><\/h2>\n<h2>PASSION PLAY<\/h2>\n<p><em>by Blair Jackson<\/em><\/p>\n<p>Two days after <strong>Jason Vieaux\u2019s<\/strong> stunning victory at the 2015 Grammy Awards in Los Angeles, where his <em>Play<\/em> album won in the Best Classical Instrumental Solo category, the tired but glowing guitarist sounds as if he is still slightly overwhelmed by the enormity of it all\u2014both the event and the validation his trophy represents. It\u2019s the culmination of many years of hard work and endless practicing and performing, of course, and it has instantly elevated Vieaux into the rarified company of the few classical guitarists to have earned Grammys over the past half-century-plus, joining <strong>Andr\u00e9s Segovia<\/strong> (1958), <strong>Laurindo Almeida<\/strong> (five, from 1960-64), <strong>Julian Bream<\/strong> (four, from 1963-72), <strong>John Williams<\/strong> (1972), <strong>Sharon Isbin<\/strong> (2001, 2010), <a title=\"The Los Angeles Guitar Quartet\u2019s Scott Tennant looks at the group\u2019s 35-year run\" href=\"http:\/\/classicalguitarmagazine.com\/the-los-angeles-guitar-quartet-has-braved-hell-er-mexico-and-high-water\/\" target=\"_blank\"><strong>the Los Angeles Guitar Quartet<\/strong><\/a> (2004), and <strong>David Russell<\/strong> (2004).<\/p>\n<p>The 41-year-old Vieaux\u2019s <em>Play<\/em> (on the Azica label) has proven to be one of the most popular classical-guitar records of recent years, one that appeals to both hard-core fans of the instrument and newcomers. Over the course of 17 tracks, it serves up an eclectic m\u00e9lange of solo-guitar tracks, including traditional pieces by T\u00e1rrega, Segovia, and Barrios, as well as those by Jobim, Andrew York, Leo Brouwer, Paul Bellinati, and even Duke Ellington. The range of genres and eras makes it difficult to classify, yet there is a distinct, unified vision evident in the crisp playing and Vieaux\u2019s unwavering commitment to both melody and rhythm throughout the disc.<\/p>\n<p>No doubt he could have followed <em>Play<\/em> with an equally crowd-pleasing selection of solo pieces, but instead Vieaux has taken a scenic side road in a different direction: <em>Together<\/em> (also on Azica) is a wondrous collaboration with the sensational harpist Yolanda Kondonassis who, like Vieaux, teaches at the Cleveland Institute of Music when she isn\u2019t touring as one of the top artists in her field. \u201cJason and I have known each other a long time and get along really well,\u201d Kondonassis says in a separate interview right after I talked with Vieaux. \u201cWe communicate well, both personally and musically, and right from the start, I could tell we were sympathetic [together]. There are some similarities between the harp and guitar, but also many differences, obviously. What we\u2019ve been able to do is to both blend and contrast them.\u201d<\/p>\n<p><a href=\"http:\/\/amzn.to\/1CnAA6a\"><img data-recalc-dims=\"1\" decoding=\"async\" class=\"alignleft wp-image-2195\" src=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2015\/07\/Together_AlbumCover-300x271.jpg?resize=250%2C226\" alt=\"Together_AlbumCover\" width=\"250\" height=\"226\" srcset=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2015\/07\/Together_AlbumCover.jpg?resize=300%2C271&amp;ssl=1 300w, https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2015\/07\/Together_AlbumCover.jpg?resize=1024%2C927&amp;ssl=1 1024w, https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2015\/07\/Together_AlbumCover.jpg?w=1650&amp;ssl=1 1650w\" sizes=\"(max-width: 250px) 100vw, 250px\" \/><\/a><\/p>\n<p>There was precious little existing repertoire for guitar and harp for the pair to draw from. Their first duo collaboration was a live performance of Alan Hovhaness\u2019 1983 composition <em>Sonata for Harp and Guitar: Spirit of the Trees<\/em>, long before they entered a recording studio with <em>Play<\/em> producer Alan Bise to make a full album.<\/p>\n<p>After adding multilayered pieces by Maximo Diego Pujol (<em>Suite Majica<\/em>, 2008; it kicks off the CD and lives up to its name) and the late Xavier Montsalvatge (<em>Fantasia<\/em>, 1983), Vieaux and Kondonassis commissioned two new works, one by fellow CIM teacher Keith Fitch (\u201cKnock on Wood\u201d), the other by New York composer (and flutist) Gary Schocker, an occasional playing partner of Vieaux\u2019s.<\/p>\n<p>Stylistically, <em>Together<\/em> is all over the map, ranging from American folk and Spanish-influenced passages to bits of blues\u2014are you ready for \u201cwalking bass\u201d harp?\u2014gorgeous melodic flights, and a fair amount of abstraction and dissonance. The musical blend is glorious, the communication between the players clearly telepathic, and the result is an album that is both pleasing and challenging.<\/p>\n<p>Neither artist has been afraid to take chances through the years in their search for new avenues to explore their respective instruments. True, Vieaux has recorded entire albums of music by Bach, Alb\u00e9niz, Sor, and Ponce, but he also devoted one to jazz guitarist\/composer Pat Metheny, cut a disc of music by Astor Piazzolla with bandoneon master Julien Labro, a Brazilian-themed CD with cellist Young-Hoon Song, and two with flautist Schocker. He and Kondonassis both have broad tastes in music outside the worlds of classical guitar and harp, so it is not a surprise that they would feel comfortable playing with so many different styles and textures on their first album together.<\/p>\n<p>What follows are some highlights from my interview with Vieaux about his collaboration with Kondonassis (and a few other matters).<\/p>\n<p><strong><em>What do you think the victory of your album at the Grammy Awards says?<\/em><\/strong><\/p>\n<p>Well, I wanted to make a quote-unquote \u201chits\u201d album, but in my style. I was going to throw a few curveballs in there with some of my\u00a0 arrangements, but make it a fun thing to listen to, where you didn\u2019t know what was coming next, but it all hangs together as a whole. Not to compare myself to the great David Russell\u2014and [in my post-victory comments] I acknowledged him and Julian Bream as childhood heroes and previous winners of that award\u2014but for me, when David won that award in 2004, I and many of my colleagues were so happy. It was awesome. We wanted to have a party to celebrate. It felt like people were really listening to this stuff and thinking about it and rewarding quality.<br \/>\nWe knew the CD [<em>Play<\/em>] had a sort of underground buzz behind it, because radio stations were playing it. Radio program directors and DJs were reporting back to my PR person, Christina Jensen, saying, \u201cWe love this record\u2014we wish we could play the whole thing on the air.\u201d So I thought we had an outside shot. We\u2019re very proud of the CD. But to win is definitely amazing.<\/p>\n<hr \/>\n<p><iframe src=\"https:\/\/www.youtube.com\/embed\/pNoRqPZKkU4?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><br clear=\"all\" \/><\/p>\n<hr \/>\n<p><strong><em>Your album with Yolanda is obviously very different from <\/em>Play<em>, not just because it\u2019s two instruments, but because there are much more modern and challenging sonorities on there.<\/em><\/strong><\/p>\n<p>Oh, yeah, that\u2019s a hard-core modern album that\u2019s all original, with no arranging [of classic pieces] on it.<\/p>\n<p><strong><em>I must be honest and say I don\u2019t think I had ever heard harp and classical guitar combined before, but within about the first 30 seconds or so, I was thinking, \u201cWhy hasn\u2019t this happened more often?\u201d Because it seems like such a fantastic and natural combination of instruments, yet there isn\u2019t much music that\u2019s been composed for the two instruments together.<\/em><\/strong><\/p>\n<p>That\u2019s right, there isn\u2019t. There are also a couple of other pieces we haven\u2019t recorded yet, including one by my friend Eric Sessler, whose sonata I premiered 17 or 18 years ago, and for whom I\u2019m premiering another work in Philadelphia. He wrote a harp-guitar sonata we\u2019re going to learn next. We\u2019re hoping to use the duo to get other composers to write works for us. Everybody who hears us has the reaction that you did: \u201cThis is such a natural combination.\u201d So we\u2019re putting whatever muscle we small, classical musicians have behind it because we really believe in it, too. At the same time, we know it\u2019s not a combination that\u2019s easily written for. For the same reason composers are reluctant to write for the guitar, the harp is the other instrument they\u2019re totally terrified of. [Laughs]<\/p>\n<p><em><strong>Why is that?<\/strong><\/em><\/p>\n<p>It\u2019s almost like you have to play it to write for it. Like the guitar, it\u2019s a highly mechanical layout\u2014the layout of the guitar notes on the neck is actually on a grid, not on a line, and the harp is very complex as well, with the pedals and all that. So if you\u2019re a composer, you can\u2019t just write something straight from your ear to the page for the harp, because then the harpist has to come in and do a lot of heavy editing with the composer. It\u2019s the same as our story, right? In most cases, it\u2019s better if the guitarist actually works with the composer, if the composer doesn\u2019t already play the instrument. When [Julian] Bream worked with Benjamin Britten, Bream would look at what Britten had written and say, \u201cWell, this is possible, this is not.\u201d<\/p>\n<p>In the end, we\u2019ve got to play these works for an audience so they understand it, so we have to be comfortable with what\u2019s written, so sometimes there are judicious little fingering choices we have to make, to make something more playable. You have to be smart about it and be a good musician about it.<\/p>\n<p><em><strong>When you commission a work\u2014like on this album you premiere pieces by Gary Schocker and Keith Fitch\u2014what does that involve on your end? Do you collaborate on it to some extent, providing some guidance, some idea of what you\u2019re looking for from a piece?<\/strong><\/em><\/p>\n<p>Every situation is different.\u00a0 If, down the road, I ask some very famous, living composer to do it, that\u2019s going to be a little bit of a different situation than asking Keith Fitch, because Keith is the\u00a0 head of the composition department at CIM, an excellent composer, very well-respected, but we see him in the hall every day. [Laughs] I\u2019ve had beers with him on other occasions, like at other concerts playing new music. So it was like, \u201cHey, Keith, want to write a piece?\u201d It was just about that simple. And then he went off and wrote it. I did some things to it\u2014I transposed a couple of voices to different octaves because Keith doesn\u2019t play the guitar, and he was OK with all those changes. Yolanda modified the part again, with Keith\u2019s approval. They worked together very hard on the harp part.<\/p>\n<p>Gary Schocker was a really interesting story. Gary and I have been friends for 20 years; we\u2019ve had a flute-guitar duo for 17 years. Gary doesn\u2019t perform quite as much as I do; he\u2019s concentrated on composing, and has written something like 150 pieces for the flute, his main instrument. He\u2019s also a tremendous pianist.\u00a0 He\u2019s really one of the most talented musicians I\u2019ve met.<\/p>\n<p>I thought, \u201cWe should get him to write a piece for the harp,\u201d because a few years ago he became obsessed with the harp\u2014he\u2019s been playing the harp and practicing for two and three hours a day for a long time. So I asked him if he\u2019d write something for harp and guitar and he said, \u201cI\u2019ve practically already written it!\u201d He had already thought about the combination; in fact, he\u2019d imagined writing something for me to sight-read through with him [playing harp]. But when I said, \u201cWell, I have a duo with Yolanda Kondonassis,\u201d he said, \u201cOh, my God, that\u2019s fantastic!\u201d So that was easy, too, and he wrote a really gorgeous piece.<\/p>\n<p><em><strong>It is beautiful, particularly the section titled \u201cTogether,\u201d which sounds like the \u201chit,\u201d as it were\u2014a track that classical radio could isolate and play.<\/strong><\/em><\/p>\n<p>Right, the \u201cleadoff single\u201d! [Laughs]<\/p>\n<p><em><strong>It\u2019s so lyrical and appealing, but there\u2019s also lots going on throughout the Schocker piece.<\/strong><\/em><\/p>\n<p>That\u2019s right. The last two [compositions] he wrote for our flute and guitar collaboration were more dissonant. But with the harp, I think he hears the music a little differently, maybe almost in a pop melody kind of sense. So you hear a melodic thing, but then underneath there are other things happening, not unlike with Pat Metheny\u2019s music, where you think, \u201cOh, there\u2019s some real cool rhythmic meter form and structure underneath the pretty surface that is the work of a masterful composer.\u201d<\/p>\n<hr \/>\n<blockquote>\n<h1>\u2018If you\u2019re a good musician, you have to use those elements of composition and arrangement to create new things.\u2019<\/h1>\n<p>JASON VIEAUX<\/p><\/blockquote>\n<hr \/>\n<p><em><strong>I definitely get the sense that you really enjoy rhythm. You like to either imply a rhythm, play a rhythm, tap out of rhythm. There\u2019s a tremendous amount of movement in your music.<\/strong><\/em><\/p>\n<p>It\u2019s the number one thing for me; it\u2019s really the primary element. It also a big part of my teaching with students. A lot of times, classical-music students grow up feeling that melody should be emphasized, ahead of studying form and structure and rhythm. As a result, I\u2019ve always felt I had to help my students understand how important rhythm is to an audience\u2019s understanding of the music. The casual listener doesn\u2019t always necessarily know that the reason they feel a piece of music or understand it often has as much to do with the rhythm as it does with the melody. If you have a rhythm-less melody, you have nothing.<\/p>\n<p><em><strong>If you go back to your <\/strong><\/em><strong>Play<\/strong><em><strong> album and listen to the pieces by T\u00e1rrega and Segovia, there\u2019s a tremendous momentum that goes through them, this relentless forward movement.<\/strong><\/em><\/p>\n<p>Propulsion, right. Obviously that\u2019s something I like and appreciate. And they\u2019re fun to play.<\/p>\n<p><em><strong>When you have a piece like Fitch\u2019s \u201cKnock on Wood,\u201d which actually has you knocking on wood\u2014your guitar\u2014how is that indicated in the score?<\/strong><\/em><\/p>\n<p>With a key, like with the Dan Visconti solo piece I\u2019ve been playing the last three years [\u201cDevil\u2019s Strum\u201d]. The composer puts a facing page before the first page that has a key, like you\u2019ll have an x and a circle, or some kind of notation. Keith, as you can tell by the piece, is very modern\u2014it\u2019s more the contemporary school of music, with some dissonance, and involving sounds and textures, so he came up with notations to indicate where he wanted some tapping or whatever.<\/p>\n<p><em><strong>It\u2019s a courageous way to end an album, I must say.<\/strong><\/em><\/p>\n<p>[Laughs] Yeah, we didn\u2019t end it sweetly. You know what? We felt that people had already gotten a very nice record to listen to, so it was sort of the experimental track at the end.<\/p>\n<hr \/>\n<p><iframe src=\"https:\/\/www.youtube.com\/embed\/v-xghWkpqmU?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><br clear=\"all\" \/><\/p>\n<hr \/>\n<p><em><strong>When you play with Yolanda, are there things you hear in the harp that you wish you could do with the guitar?<\/strong><\/em><\/p>\n<p>First and foremost, the obvious answer is volume. And resonance. When you\u2019re sitting next to a harp and playing, it\u2019s this incredibly loud and resonant instrument. They actually have similar resonances, but it\u2019s like the guitar is smaller and more intimate. But\u2014and I\u2019ve said this for years\u2014what the guitar can do that no other instrument can do is be a polyphonic instrument that sings. You can make it sing with vibrato. Also, the color palette on the guitar\u2014and the harp\u2014exceed those of most western classical music instruments. So those things combined are why people are endlessly interested in the guitar, and why the guitar might be entering a renaissance of sorts as a performance instrument in classical music.<\/p>\n<p><em><strong>It helps, too, that you and some of the other most popular players are dedicated to expanding the repertoire, not just with commissioned pieces, but with successful interpretations of songs from the popular and jazz worlds. I think it\u2019s become much more acceptable for a guitarist to tackle a Duke Ellington piece, as you do with \u201cIn a Sentimental Mood,\u201d than it would have been 20 years ago.<\/strong><\/em><\/p>\n<p>Absolutely. I remember when I did the Metheny CD [<a href=\"http:\/\/www.amazon.com\/gp\/product\/B000BKSJA2\/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B000BKSJA2&amp;linkCode=as2&amp;tag=classiguitar-20&amp;linkId=O2UOF2ST57PJEH4B\" target=\"_blank\"><strong><em>Images of Metheny<\/em>, 2005<\/strong><\/a>] there was a lot of head-scratching about that: \u201cHe\u2019s going to do a whole album of Pat Metheny? Well, OK . . . \u201d\u00a0 But that record has had a very long tail it in terms of sales, so it was accepted. If you\u2019re a good musician, you have to use those elements of composition and arrangement to create new things. For 500 years, composers have been readapting and recasting other people\u2019s music or folk tunes, and creating new compositions with them. Just like the Rodrigo <em>Fantasia para un gentilhombre<\/em> concerto\u2014those are not original ideas\u2014they\u2019re based on Gaspar Sanz pieces [written in the 17th century] and expanded on.<\/p>\n<p>Today, the lines are becoming a little more blurred in terms of genre and style, and that\u2019s exciting to me. I\u2019m always going to be playing Bach suites in my concerts, but I\u2019m not one of those guys who says, \u201cI\u2019m going to play the Bach suites in my style, and I\u2019m going put this other stuff in it.\u201d That\u2019s not what I do. When I\u2019m playing Bach onstage, I\u2019m trying to play as if I\u2019m playing for him. [Laughs] I\u2019m not going to mess around with it. I want to get to the truth of it as much as possible. Same with Alb\u00e9niz\u2014I\u2019m not going to try to make the guitar sound like a harpsichord or a cello or anything like that.<\/p>\n<p>When I arrange a Duke Ellington tune, I want to get as close to Ellington\u2019s style as possible. You do have more freedom to express yourself with jazz and pop, because you have to recast it. But what Metheny says he likes about [<em>Images of Metheny<\/em>] is it retains the spirit and the vibe of the original stuff, but in a new direction.<\/p>\n<p><em><strong>As somebody who came up through the competition system, who still teaches master classes and more, do you have any observations about how students are changing? Are their tastes more eclectic because the music that\u2019s out there is more diverse and ecelctic? Are they more eclectic because they listen to their iPods all the time, like everybody else?<\/strong><\/em><\/p>\n<p>Both of those are true, but the main thing I\u2019ve noticed is they\u2019re more well trained\u2014especially all these students coming out of China and the conservatory system in Europe, which train some people starting at four and five years old\u2014like the Paris Conservatory. That\u2019s why you see these young players winning a lot of these competitions. The training is just much more solid. They\u2019re studying with previous international competition winners in a lot of cases, people who can really play the heck out of the guitar. So that part of the training is probably the best it\u2019s ever been.<\/p>\n<p>And I do think they have more eclectic tastes. When I was in college, I\u2019m pretty sure I was one of maybe two people in my class at the Cleveland Institute of Music that brought his Public Enemy and Tribe Called Quest tapes with him from Buffalo. It was pretty exotic to a lot of my classmates. Now, it seems like all the students at CIM are listening to everything. The eclecticism in their listening has definitely expanded, but still, it\u2019s only translating into the music of just a few players. And that\u2019s OK\u2014I don\u2019t think people should force it. If you don\u2019t feel comfortable in the jazz idiom, if you don\u2019t feel comfortable in a hip-hop idiom, don\u2019t try to throw some jazz or hip-hop in your playing, because it\u2019s not going to sound cool; it\u2019s going to sound really stiff and forced.<\/p>\n<p>Like I said, there are a few who can pull it off, so when they play something that rocks or swings, it actually has a pretty good feel to it. But it\u2019s really better for most students to take the more conventional route with the guitar.<\/p>\n<p><em><strong>Stick to the program.<\/strong><\/em><\/p>\n<p>Exactly. There will be opportunities to experiment later.<\/p>\n<hr \/>\n<p><strong>This article was originally published in the Summer 2015 issue of <em>Classical Guitar<\/em> magazine.<\/strong><\/p>\n<p class=\"p1\"><a href=\"http:\/\/store.elizabethl27.sg-host.com\/collections\/featured-products\/products\/no-378-summer-2015\" target=\"_blank\"><img data-recalc-dims=\"1\" decoding=\"async\" class=\"alignleft wp-image-1641 size-medium\" src=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2015\/05\/378_cover-227x300.jpg?resize=227%2C300\" alt=\"\" width=\"227\" height=\"300\" srcset=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2015\/05\/378_cover.jpg?resize=227%2C300&amp;ssl=1 227w, https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2015\/05\/378_cover.jpg?w=700&amp;ssl=1 700w\" sizes=\"(max-width: 227px) 100vw, 227px\" \/><\/a>The issue also features Christopher Parkening, Joaquin Rodrigo, female flamenco guitarists, a special focus on contemporary luthiers, and much more. <a href=\"http:\/\/store.elizabethl27.sg-host.com\/collections\/featured-products\/products\/no-378-summer-2015\" target=\"_blank\"><strong>Click here for more information on the issue.<\/strong><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>PASSION PLAY by Blair Jackson Two days after Jason Vieaux\u2019s stunning victory at the 2015 Grammy Awards in Los Angeles, where his Play album won in the Best Classical Instrumental Solo category, the tired but glowing guitarist sounds as if he is still slightly overwhelmed by the enormity of it all\u2014both the event and the validation his trophy represents. It\u2019s the culmination of many years of hard work and endless practicing and performing, of course, and it has instantly elevated [&hellip;]<\/p>\n","protected":false},"author":10,"featured_media":2203,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","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":[5],"tags":[],"class_list":["post-2189","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-stories"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2015\/07\/Jason2010-14.jpg?fit=600%2C399&ssl=1","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/2189","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\/10"}],"replies":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/comments?post=2189"}],"version-history":[{"count":0,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/2189\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media\/2203"}],"wp:attachment":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media?parent=2189"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/categories?post=2189"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/tags?post=2189"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}