{"id":8436,"date":"2017-11-26T10:34:09","date_gmt":"2017-11-26T18:34:09","guid":{"rendered":"http:\/\/classicalguitarmagazine.com\/?p=8436"},"modified":"2017-11-26T10:34:09","modified_gmt":"2017-11-26T18:34:09","slug":"segovia-sunday-5-the-maestro-plays-two-short-pieces-by-bach","status":"publish","type":"post","link":"https:\/\/classicalguitarmagazine.com\/segovia-sunday-5-the-maestro-plays-two-short-pieces-by-bach\/","title":{"rendered":"Segovia Sunday #5: The Maestro Plays Two Short Pieces by Bach"},"content":{"rendered":"<p>For this week&#8217;s Andr\u00e9s Segovia Sunday, we present a pair of unrelated Bach pieces: the <em>Sarabande<\/em> from\u00a0 <em>Suite for Lute\u00a0 No. 1 in E minor,<\/em> <em>BWV 996<\/em>, followed by the <em>Gavotte en rondeau from Violin Partita No. 3 in E, BWV 1006<\/em>. The Maestro originally recorded the material from the sonata in London in 1927, and that movement from the lute suite in London 20 years later, in 1947. The tempo difference between earlier <em>Gavotte<\/em> and this version is quite noticeable; the older Segovia played it slower, though I don&#8217;t think that&#8217;s necessarily a negative.\u00a0 \u2014<em>Blair Jackson<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>For this week&#8217;s Andr\u00e9s Segovia Sunday, we present a pair of unrelated Bach pieces: the Sarabande from\u00a0 Suite for Lute\u00a0 No. 1 in E minor, BWV 996, followed by the Gavotte en rondeau from Violin Partita No. 3 in E, BWV 1006. The Maestro originally recorded the material from the sonata in London in 1927, and that movement from the lute suite in London 20 years later, in 1947. The tempo difference between earlier Gavotte and this version is quite [&hellip;]<\/p>\n","protected":false},"author":11,"featured_media":8438,"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-8436","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\/2017\/11\/segovia-5.jpg?fit=450%2C253&ssl=1","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/8436","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=8436"}],"version-history":[{"count":0,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/8436\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media\/8438"}],"wp:attachment":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media?parent=8436"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/categories?post=8436"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/tags?post=8436"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}