{"id":9452,"date":"2018-03-22T15:59:02","date_gmt":"2018-03-22T22:59:02","guid":{"rendered":"http:\/\/classicalguitarmagazine.com\/?p=9452"},"modified":"2018-03-22T16:40:58","modified_gmt":"2018-03-22T23:40:58","slug":"video-pick-of-the-week-sanja-plohl-plays-antonio-lauros-lively-virgilio","status":"publish","type":"post","link":"https:\/\/classicalguitarmagazine.com\/video-pick-of-the-week-sanja-plohl-plays-antonio-lauros-lively-virgilio\/","title":{"rendered":"Video Pick of the Week: Sanja Plohl Plays Antonio Lauro&#8217;s Lively &#8216;Virgilio&#8217;"},"content":{"rendered":"<p><a href=\"http:\/\/www.sanjaplohl.com\/\" target=\"_blank\" rel=\"noopener\">Sanja Plohl <\/a>is a Slovenian-born,\u00a0Madrid-based guitarist whose studies included time at the Rostock (Germany) University of Music and Theater, with Thomas Offermann; the Royal Conservatory in the Hague (Netherlands), with Zoran Dukic; and post-grad work at the University Mozarteum in Salzburg, with Elliot Fisk, Marco Tamayo, and Ricardo Gall\u00e9n. She was the winner of competitions in C\u00f3rdoba, Sevilla, and London, among other places, and keeps an active performing and teaching schedule.<\/p>\n<p>Ever since we published a <a href=\"http:\/\/classicalguitarmagazine.com\/method-antonio-lauros-la-negra-grapples-with-the-polymeters-and-hemiolas-of-a-vals-venezolano\/\" target=\"_blank\" rel=\"noopener\">&#8220;Method&#8221; article <\/a>in the Spring 2018 issue of &#8216;CG,&#8217; offering tips on playing <em>La Negra<\/em> by Venezuelan composer Antonio Lauro (1917\u20131986), I&#8217;ve been listening to a lot of his music. It&#8217;s so infectious! I really like this version of the lively <em>Virgilio<\/em>, which was named after his grandson and published in 1984. It was notably recorded by Sharon Isbin on her 1999 album <em>Dreams of a World<\/em>, and by John Williams on his Lauro-heavy 2003 album,\u00a0<em>El Diablo Suelto<\/em>, both from a transcription by Alirio D\u00edaz. No matter who&#8217;s playing it, it&#8217;s a\u00a0fantastic piece of music!<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Sanja Plohl is a Slovenian-born,\u00a0Madrid-based guitarist whose studies included time at the Rostock (Germany) University of Music and Theater, with Thomas Offermann; the Royal Conservatory in the Hague (Netherlands), with Zoran Dukic; and post-grad work at the University Mozarteum in Salzburg, with Elliot Fisk, Marco Tamayo, and Ricardo Gall\u00e9n. She was the winner of competitions in C\u00f3rdoba, Sevilla, and London, among other places, and keeps an active performing and teaching schedule. Ever since we published a &#8220;Method&#8221; article in the [&hellip;]<\/p>\n","protected":false},"author":11,"featured_media":9451,"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-9452","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\/03\/Sanja-Plohl-guitar-1.jpg?fit=1024%2C615&ssl=1","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/9452","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=9452"}],"version-history":[{"count":0,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/9452\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media\/9451"}],"wp:attachment":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media?parent=9452"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/categories?post=9452"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/tags?post=9452"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}