{"id":8989,"date":"2018-01-28T16:13:31","date_gmt":"2018-01-29T00:13:31","guid":{"rendered":"http:\/\/classicalguitarmagazine.com\/?p=8989"},"modified":"2018-01-28T16:13:31","modified_gmt":"2018-01-29T00:13:31","slug":"sunday-prodigy-2-li-jie-13-plays-paganinis-caprice-no-24","status":"publish","type":"post","link":"https:\/\/classicalguitarmagazine.com\/sunday-prodigy-2-li-jie-13-plays-paganinis-caprice-no-24\/","title":{"rendered":"Sunday Prodigy #2: Li Jie (13) Plays Paganini&#8217;s &#8216;Caprice No. 24&#8217;"},"content":{"rendered":"<p>(We first published this three years ago, but it is certainly relevant to our Sunday Prodigy series.)<\/p>\n<p>There\u2019s nothing like a little Paganini to make you feel completely inadequate as a guitarist. Especially when it\u2019s the daunting <em>Caprice No. 24<\/em>, originally written for solo violin, played a by a 13-year-old. In this case, it\u2019s a (slightly grainy) mid-1990s performance by the Chinese prodigy Li Jie (now in her late 30s), who began her guitar studies with the great teacher Chen Zhi when she was just 11. This isn\u2019t flawless, but its still pretty incredible.\u00a0 \u2014<em>Blair Jackson<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>(We first published this three years ago, but it is certainly relevant to our Sunday Prodigy series.) There\u2019s nothing like a little Paganini to make you feel completely inadequate as a guitarist. Especially when it\u2019s the daunting Caprice No. 24, originally written for solo violin, played a by a 13-year-old. In this case, it\u2019s a (slightly grainy) mid-1990s performance by the Chinese prodigy Li Jie (now in her late 30s), who began her guitar studies with the great teacher Chen [&hellip;]<\/p>\n","protected":false},"author":11,"featured_media":8992,"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-8989","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\/01\/Li-Jie.jpg?fit=480%2C358&ssl=1","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/8989","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=8989"}],"version-history":[{"count":0,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/8989\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media\/8992"}],"wp:attachment":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media?parent=8989"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/categories?post=8989"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/tags?post=8989"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}