\n
Was Chopin epileptic?<\/a><\/strong><\/li>\n
George Sand and Chopin in love: a spotlight on their relationship in Majorca<\/a><\/strong><\/li>\n
Five essential works by Chopin<\/a><\/strong><\/li>\n<\/ul>
<\/p><\/div> <\/section>
How did Chopin use nationalism?<\/h2>\n
Chopin\u2019s life outside his homeland may have altered his lifestyle but, as Jeremy Siepmann explains, his music remained Polish at heart<\/i><\/span><\/p>\n
Chopin\u2019s life was neatly divided between the homelands of his Polish mother and his French-born father. He spent the first 21 years of his life in Warsaw, the remaining 18 in Paris. He was both the greatest of Polish composers and effectively the father of French pianism. Despite his Polish birth and upbringing, both countries have always counted Chopin as their own. And Chopin himself? Insofar as nationality goes (though his music infinitely transcends it), he was forever Polish. His Mazurkas, Polonaises and Polish songs outnumber his works in any other genre; Polish dances such as the krakowiak<\/i> crop up, undercover, in works with no outer national references (the finale of the E minor Concerto, for instance); mazurkas in disguise infiltrate altogether different dances (most spectacularly in the trio section of the F sharp minor Polonaise) and even find their way into the Nocturnes. Nor are the Polish elements in Chopin\u2019s music confined to formal models. There are numerous examples of harmonies, rhythms, melodic types, chromaticisms, syncopations and so on which are characteristically Polish, and mostly derived from folk music, both authentic and popularised. Sometimes the references are specific and potent. The middle section of the B minor Scherzo, for instance, is based on a popular carol, carrying a very special and poignant resonance for native listeners.<\/span><\/p>\n\nA sense of Polishness had been with him from the beginning, fostered not only by his social environment but by the powerful influence both of his father (immigrants often make the best patriots) and his composition teacher J\u00f3zef Elsner. But he was never a political activist. What\u2019s more, his Polishness was as much musical as national \u2013 indeed ultimately more so. His passionate attraction to the mazurka, in particular (of which he wrote 57 examples, throughout his life), derived not mainly from its Polishness but from its character, potential and multiplicity of styles; its elusive, sometimes almost hypnotic rhythms, its roots in song. If necessity is the mother of invention, the mazurka, in large part, was the mother of Chopin\u2019s originality. From the mazurka (or rather from its implications as gleaned by the mind of a genius) came much of Chopin\u2019s epoch-making harmony \u2013 affecting composers as distant as <a href=\""https:\/\/www.classical-music.com\/composers\/richard-wagner\/"\">Wagner<\/a><\/strong>, <a href=\""https:\/\/www.classical-music.com\/composers\/claude-debussy\/"\">Debussy<\/a><\/strong> and <a href=\""https:\/\/www.classical-music.com\/composers\/arnold-schoenberg\/"\">Schoenberg<\/a><\/strong> \u2013 and much, too, of his extraordinary rhythmic sophistication.\u00a0<\/span><\/p>\nIt can fairly be said that Chopin put the mazurka on the world musical map, and ensured through the sheer quality of his output that it would remain there. The polonaise, by contrast, with its catchy motto rhythm, had become popular outside Poland well before Chopin\u2019s birth \u2013 both JS and WF Bach wrote them. Chopin\u2019s career began with polonaises, when he was seven, but it came of age, as it were, with fateful aptness, when he was 21. With the conquest of Warsaw by Russian troops in 1831, Chopin, then touring abroad, became an exile. From that time onward, he made his home in Paris. Nowhere was the sea change in his perspectives more dramatically revealed than in his transformation of the polonaise, which he raised to a level of seriousness and emotional power never previously associated with it. Not for nothing did Schumann refer to Chopin\u2019s music (and obliquely to the mature polonaises) as \u2018cannons buried in flowers\u2019. <\/span><\/p>\nTo judge from his output alone, exile was good for Chopin. His flowering in France was near-miraculous. But what of the man? Could he, with the passing of the years, have returned to Poland? More to the point, did he want to? Poland was the land of his childhood and youth. Since leaving it, he had become a famous pianist and composer; he lived and largely enjoyed a life of fashionable luxury in Paris; he hobnobbed with the aristocracy and the cream of European artists, musicians and writers. He had found himself at the centre of the known universe, and he relished it. Most importantly of all, it was in these circumstances and surroundings that he composed his greatest music. To return to a Poland still dominated by the Russians would have been to imperil his creative powers, the single greatest motive force in his life. Chopin, as noted, was not a political animal \u2013 he was an artist, and a great one. Whatever his emotional attachment to the Poland of his youth, or his hopes for her future, it was not in his interests to return, whatever the regime. <\/span><\/p>\n<h2 class=\""p1"\">Was Chopin a <\/span>Romantic composer?<\/span><\/em><\/h2>\nChopin may have lived during the Romantic period but, Jessica Duchen argues, his music was more influenced by Classical and Baroque forms than anything else.<\/i><\/span><\/p>\nReflect just for a moment on one often-forgotten factor about the supposed epochs of musical history. We divide them into \u2018Baroque\u2019, \u2018Classical\u2019, \u2018Romantic\u2019, etc \u2013 but only with hindsight. To the composers of any era, the music of their own time is new: contemporary and evolving. Boundaries are blurred, if they exist at all. We could argue, for instance, over whether Beethoven is \u2018Classical\u2019 or \u2018Romantic\u2019, but maybe the question is barely relevant to a composer influenced by Bach and Haydn, contemporaneous with Goethe and ready to break the boundaries more powerfully than any composer before.<\/span><\/p>\n<section class=\""highlight\"><div class=\""highlight__content\" editor-content=\"\"> \n<ul><li><a href=\""https:\/\/www.classical-music.com\/composers\/fifteen-best-romantic-composers\/"\">15 of the best Romantic composers<\/a><\/strong><\/li>\n<li><a href=\""https:\/\/www.classical-music.com\/composers\/what-was-war-romantics\/"\">What was the War of the Romantics?<\/a><\/strong><\/li>\n<\/ul> <\/p><\/div> <\/section>When we ask whether Chopin is a Romantic, what exactly do we mean? For argument\u2019s sake, here\u2019s a definition of Romanticism from The Free Dictionary<\/i> online, which seems reasonably accurate: \u2018An artistic and intellectual movement originating in Europe in the late 18th century and characterized by a heightened interest in nature, emphasis on the individual\u2019s expression of emotion and imagination, departure from the attitudes and forms of classicism, and rebellion against established social rules and conventions.\u2019 In this light, it\u2019s not easy to pinpoint exactly on which section of the fence Chopin was sitting.<\/span><\/p>\nChopin was 17 when Beethoven died, but spent more time with the music of Bellini, steeping himself in opera as a student in Warsaw, thanks to his passion for a young soprano. Simultaneously he revered Bach and Mozart above all others. Bach provided the model for his Preludes and Etudes, not just the 24-key structure of the 24 Preludes but also their highly textured workings-out of one affekt<\/i>-like idea, with voices of equal importance interweaving at all levels. <\/span><\/p>\nBut then came the impact of Liszt, Chopin\u2019s sometime friend, virtuoso par excellence<\/i>, musical pioneer and arch-Romantic, along with the free-thinking Schumann and delicate, precise Mendelssohn whose works encapsulated a Goethe-esque \u2018Romantic\u2019 spirit yet within comparatively strict Classical structures. Everything mingled, headily so, creatively so; nothing was ever quite as clearly divided as history might like.<\/span><\/p>\nExpression of emotion and imagination? Undoubtedly. Take the Sonata No. 2 in B flat minor (on this month\u2019s cover CD). The feverish galloping of Chopin\u2019s opening movement, his demoniac <a href=\""https:\/\/www.classical-music.com\/features\/articles\/what-scherzo\/"\">scherzo<\/strong><\/a> and the closing movement \u2013 that \u2018wind across the graves\u2019 moment of harmonic dislocation in skittering unison \u2013 is in a spirit that belongs utterly to Romanticism. Subjective, original, vividly imagined, immensely emotional. And yet it\u2019s still in the context of a sonata, that ultimate Classical form \u2013 and the four-movement structure, as opposed to its content, is not particularly unconventional: a sonata-form opener, scherzo with trio, slow movement and presto<\/i> finale. Chopin is building on the past, without rejecting it.<\/span><\/p>\nHeightened interest in nature is not much in evidence. Liszt\u2019s evocations of mountain storms, <a href=\""https:\/\/www.classical-music.com\/features\/articles\/why-was-scotland-so-important-for-mendelssohn\/"\">Mendelssohn\u2019s portraits of Scotland,<\/a><\/strong> Schumann\u2019s Waldszenen<\/i> \u2013 none of that leaks into Chopin, who not only didn\u2019t seem riveted by the joys of the outdoors (suffering from TB, it probably did him no good) but also avoided attaching any descriptive monikers to his works, defining them generically. No \u2018Hebrides Overture\u2019 or \u2018Vall\u00e9e d\u2019Obermann\u2019 <\/span>for him; \u2018Ballade\u2019 and \u2018Nocturne\u2019 were enough, <\/span>and his titles grew no more \u2018Romantic\u2019 than \u2018Fantasie\u2019. If nature enters Chopin\u2019s oeuvre, it is in the form of Poland itself: the inspiration he drew from folk music placed him among the pioneers of musical nationalism \u2013 and thus bang into the middle of a very particular type of Romantic ethos.<\/span><\/p>\nIf there\u2019s rebellion in Chopin, it is subtle and often hidden, existing within his harmonies more strongly than his structures. The chromaticism that sometimes hints at Wagner is often contained in unexpected corners: the heart of the Barcarolle, the violence of some of the Preludes and the Funeral March<\/i> Sonata, and the Mazurkas, the best of which are among his most sophisticated pieces. These boundary-pushing explorations sprang primarily from his expertise in improvisation, but they helped to <\/span>build a language that looked far into the future, <\/span>underpinning the work of composers as far ahead as <a href=\""https:\/\/www.classical-music.com\/composers\/claude-debussy\/"\">Debussy<\/a><\/strong>, <a href=\""https:\/\/www.classical-music.com\/composers\/alexander-scriabin\/"\">Scriabin<\/a> <\/strong>and Szymanowski.<\/span><\/p>\nSo the only overt way in which Chopin is a Romantic is through his astonishing imagination and the intensely personal nature of it. Perhaps it\u2019s best displayed in the Preludes a<\/span>nd the B flat minor Sonata, but the passionate outpourings of the Polonaise-Fantasie<\/i>, the operatic melodiousness and conflicts within some of the Nocturnes, and the dazzling inventiveness of the Waltzes could have come from no pen but his.<\/span><\/p>\nWe could call Chopin the most Romantic of Classicists, or the most Classical of Romantics. Both are almost true; neither is entirely satisfactory. He was, above all, powerfully himself \u2013 an individual standing, with his own voice and his piano, alone in the face of a hostile world: exiled and idealistic, celebrated but lonely. And perhaps that makes him a full-blown Romantic after all.<\/span><\/p>\n<h2 class=\""p1"\">Was Chopin a good pianist?<\/h2>\nHe may have been a truly great pianist, but Chopin rarely performed in public. Jeremy Siepmann explains why and examines what made him so admired as a player.<\/i><\/span><\/p>\nOriginal, incomparable, unique. The words cropped up, like a kind of verbal holy trinity, throughout Chopin\u2019s life, as critics attempted to describe his unearthly playing. One could, of course, be all of those things and not be great. But the evidence leaves little doubt that Chopin ranked with <a href=\""https:\/\/www.classical-music.com\/composers\/franz-liszt\/"\">Liszt<\/a> <\/strong>as one of the two supreme pianists of the 19th century. Liszt\u2019s own account of Chopin\u2019s playing is revealing on several counts: \u2018Seldom allowing himself to be heard in public, Chopin never competed in any way for first or second place among the horde of pianists surrounding us today. The eminently poetic nature of his talent is not suited to that. He requires an atmosphere of tranquility and composure to yield up the melodic treasures within him. Music is his language, the divine tongue through which he expresses a whole realm of sentiments that only the select few can appreciate.\u2019<\/span><\/p>\nChopin\u2019s hatred of public concerts owed much to chronic stage fright. Accustomed to ovations, both physical and verbal, from the age of seven, he nevertheless suffered agonies of apprehension. \u2018You cannot imagine,\u2019 he wrote to a friend, \u2018what a torture the three days before a public appearance are to me.\u2019 Or the three weeks afterwards, come to that. Chopin\u2019s attitude to concerts may also have been influenced by his first piano teacher, a conservative (complete with 18th-century wig), who told him \u2018Concerts are never real music. You have to give up the idea of hearing in them all the most beautiful things in art.\u2019<\/span><\/p>\nChopin played, essentially, to three audiences (in ascending order of preference): the public, the habitu\u00e9s of the aristocratic salons, who included many of the leading cultural lights of the day, and his students. Of these, it was widely agreed, in the words of Karol Mikuli, that \u2018only Chopin\u2019s pupils knew the pianist in his entire, unrivalled greatness\u2019. His pianism was unique in his time. From the beginning, his concept of technique was centred on sonority. Indeed a mastery of the piano\u2019s tonal resources was for him the necessary precursor of virtuosity. Accordingly, he was heard by his students to produce 20 distinct sonorities from a single note. Whether playing it or writing for it, Chopin\u2019s approach to the piano was both individual and unfashionable. He disparaged traditional attempts to \u2018equalise\u2019 the fingers, actively cultivating their differences, discovering in each its own very distinct properties and character. This derived in part from his reverence for Bach and accounted, again in part, both for the astonishing range and precision of his colouristic palette. <\/span><\/p>\nHis technique was preternaturally relaxed. \u2018Souplesse avant tout!\u2019 (Suppleness before everything) was his pianistic motto, and \u2018facilement!\u2019 (easily!) his trademark call to students. This applied not only to technique but to rhythm, in which barlines and \u2018beats\u2019 were transcended to unfurl phrases of exceptional length, breadth and elasticity. Another feature of Chopin\u2019s playing, and of his music, was a new kind of sound which depended absolutely on the use of the sustaining pedal. \u2018The pedal,\u2019 he wrote, \u2018is a study for life.\u2019 He was perhaps its greatest master, yet unlike many who have come after him he seems in general to have used it quite sparingly. The effect was sometimes of a pianist with four hands, but the object was never out-and-out virtuosity; it was colour, contour, singingness \u2013 and freedom. Not an arbitrary freedom, but the soaring flexibility of the great bel canto<\/i> singers. Again and<br\/>\nagain Chopin urged his pupils to study the great opera stars and to emulate them.<\/span><\/p>\nAs observed by the dramatist Ernest Legouv\u00e9, \u2018Chopin\u2019s personality, his playing and his compositions were so harmonious that they could no more be separated than can the features of one face.\u2019 For evidence, we need look no further than the Op. 27 Nocturnes of 1835, though many other works would do as well. If ever one could \u2018see\u2019 a composer\u2019s \u2013 or a pianist\u2019s \u2013 face in his music, it\u2019s here: the haunting, dispossessed brooding of the former matched by the sensual melancholy and delicacy of the latter. The subtle, iridescent harmonies, the variety and originality of texture, the masterly integration of contrasts, and most importantly, perhaps, the depth and directness of emotional utterance, all give us as vivid a picture of Chopin the pianist as we could ever hope to find. <\/span><\/p>\n<h2>Why was Chopin\u2019s music so different from that of his peers? <\/span><\/h2>\nChopin, explains Alan Walker, completely revolutionised keyboard writing<\/i><\/span><\/p>\nWhen Chopin arrived in Paris, in the autumn of 1831, it was the centre of the pianistic world. Dozens of steel-fingered, chromium-plated pianists lived and worked there, each one vying with the others for a place of supremacy in the keyboard hierarchy. The roll-call included Friedrich Kalkbrenner, Adolph von Henselt, Alexander Dreyschock, Johann Peter Pixis, Henri Herz and Sigismund Thalberg \u2013 affectionately referred to as \u2018the flying-trapeze school\u2019. They were obsessed with technique. There was Kalkbrenner with his pearled passage-work, Dreyschock with his powerful octaves, and Thalberg with his trick of making two hands sound like three. <\/span><\/p>\nWe smile at such antics nowadays, yet these pianists created a breakthrough in the development of piano-playing. The poet Heinrich Heine at the time ruled the press. He was renowned for his wit, expressed through his widely read column \u2018Berichte aus Paris\u2019 (Reports from Paris). Of Kalkbrenner, a widely respected pianist, he remarked, \u2018He is like a sweet fallen in the mud. There is nothing wrong with it, but people leave it where it lies.\u2019 On another occasion Heine remarked of Dreyschock (a rather noisy player) that when he played his octaves in Cologne and the wind was in the right direction, you could hear him in Paris.<\/span><\/p>\nWhat distinguished Chopin from the acrobats was his lack of interest in technique as an end in itself \u2013 a saving grace that he might never have possessed if he, too, had had a formal piano education. (Chopin\u2019s only piano teacher was Wojciech Zywny, who was actually a violinist, and the lessons ended when Chopin was 12 years old. Thereafter he was left to find his own way.) He belonged to no school, he subscribed to no dogma. While his contemporaries \u2013 the gladiators of the keyboard \u2013 were fighting it out in the concert hall, Chopin quietly lay siege to the instrument in his own way, by composing a series of works which broke fresh ground, which are absolutely typical of the piano,<br\/>\nand which have dominated the repertory ever since. <\/span><\/p>\nChopin\u2019s approach to the keyboard was fascinating. His hands were small but they were very supple. Heine was astonished to observe their deceptive span \u2013 \u2018like the jaws of a snake suddenly opening to swallow its prey\u2019. Chopin advocated the unrestricted use of the thumb on the black keys, and often used it to strike two adjacent keys simultaneously, much to the dismay of the conservative pedagogues of the day; he would sometimes pass the longest fingers over the shorter ones without the intervention of the thumb if that would secure a better legato; he recommended a flat finger for a singing touch; he employed the organist\u2019s favourite device of finger-substitution to sustain melodies; he favoured a low piano-stool, finding it more comfortable than the high one adopted by the hard-hitting virtuosos who liked to descend on everything from a great height. Above all, there was his \u2018flutter pedalling\u2019, that continuous vibrating of the sustaining pedal which cast a warm glow over everything that he played, yet gave it at the same time its unusual clarity. He reacted strongly against the so-called \u2018finger-equalisation\u2019 schools of Czerny, Kalkbrenner and others, maintaining that each finger has individual characteristics which are there to be enhanced, not equalised away. \u2018The third finger\u2019, he would tell his pupils, \u2018is a great singer\u2019, and he would then go on to unfold entire phrases with this finger taking the major share of the work. <\/span><\/p>\nAside from the piano, Chopin\u2019s favourite instrument was the human voice. He adored Italian opera and was particularly fond of the arias of Bellini and Donizetti. Their treatment of melody shines through his Nocturnes especially. It is often said that a major influence here was John Field. There is truth in this idea, but Field\u2019s influence is surely confined to externals. The inner spirit of Chopin\u2019s nocturnes, indeed of his melodies generally, comes from opera and the bel canto<\/i> singing style. Hans von B\u00fclow delivered the best aphorism on that topic: \u2018Whoever cannot sing, however poor the voice, should not try to play the piano.\u2019 It remains a great piece of advice for Chopin players. Take singing lessons.<\/span><\/p>\n<h2 class=\""p1"\">Chopin\u2019s legacy and influence<\/h2>\nChopin\u2019s spirit is evident in much of the great piano music written after his death. Alan Walker looks at the effect on his successors.<\/i><\/span><\/p>\n<iframe title=\""Chopin\" revolutionary=\"\" etude=\"\" no.=\"\" width=\""200"\" height=\""113"\" src=\""https:\/\/www.youtube.com\/embed\/g1uLrHq9TDg?feature=oembed"\" frameborder=\""0"\" allow=\""accelerometer;\" autoplay=\"\" clipboard-write=\"\" encrypted-media=\"\" gyroscope=\"\" picture-in-picture=\"\" allowfullscreen=\"\"\/>\nBy common consent, Chopin\u2019s influence on posterity has been enormous. Scriabin, Debussy, and Prokofiev all proclaimed a debt to him. Scriabin\u2019s famous Study in D\u00a0sharp\u00a0minor, Op. 8 would be unthinkable without Chopin\u2019s Revolutionary<\/i> Etude lurking in the inspired background. As for Debussy, the polite inscription on the title-page of his Twelve Studies (\u2018to the Memory of Fr\u00e9d\u00e9ric Chopin\u2019) acknowledges their myriad attachments to the Polish composer\u2019s keyboard textures. Prokofiev confessed that the bizarre-sounding Scherzo of his Third Symphony was directly inspired by the Finale of Chopin\u2019s B flat minor Piano Sonata. Nor should we forget to mourn those countless composers whose creative drive was so overwhelmed by Chopin\u2019s powerful personality that they ended up producing compositions cloned in the master\u2019s image. They are perhaps best symbolised by Felix Blumenfeld (chiefly remembered today as the teacher of Heinrich Neuhaus and Vladimir Horowitz) whose music, which is not without charm, earned for him the title of \u2018the Russian Chopin\u2019.<\/span><\/p>\nFor the rest, Chopin\u2019s anticipation of modern composing techniques is remarkable. At times his advanced chromatic harmony carries him to the brink of atonality (witness the opening of the C sharp minor Scherzo, or the Finale of the B flat minor Sonata. What keys are they in?). Then there is his attitude to music itself, which goes beyond his time. He was interested only in music for music\u2019s sake. Unlike other Romantics, particularly his great contemporaries Liszt, Schumann and Berlioz, Chopin was not interested in \u2018programme music\u2019. It is almost unthinkable to link his music to a poetic or pictorial content. And then there is a kind of artistic asceticism in Chopin, a cool controlled approach to musical creation which sets him apart from other Romantics, and gives his music its unique feeling of colossal force \u2013 contained. The description by Schumann cited earlier in these pages \u2013 that Chopin\u2019s music is a \u2018cannon, buried in flowers\u2019 \u2013 expressed it best.\u00a0 <\/span><\/span><\/p>\n\u00a0<\/p><\/body><\/html>\n<hr class=\"no-tts wp-block-separator\"\/>","protected":false},"excerpt":{"rendered":"By Alan Walker Published: Friday, 11 February 2022 at 12:00 am Musicology devours its own children. Time was when Fr\u00e9d\u00e9ric Chopin was generally regarded as a \u2018salon composer\u2019 of charming miniatures \u2013 mazurkas, waltzes, nocturnes \u2013 unworthy of a place in the pantheon. It never occurred to our forefathers that a small Prelude, for instance, […]<\/p>\n","protected":false},"author":24,"featured_media":12137,"template":"","categories":[1],"acf":{"readingTimeMinutes":"18"},"uagb_featured_image_src":{"full":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/02\/chopins-legacy-the-enduring-appeal-of-the-remarkable-composer.jpg",294,388,false],"thumbnail":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/02\/chopins-legacy-the-enduring-appeal-of-the-remarkable-composer-150x150.jpg",150,150,true],"medium":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/02\/chopins-legacy-the-enduring-appeal-of-the-remarkable-composer-227x300.jpg",227,300,true],"medium_large":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/02\/chopins-legacy-the-enduring-appeal-of-the-remarkable-composer.jpg",294,388,false],"large":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/02\/chopins-legacy-the-enduring-appeal-of-the-remarkable-composer.jpg",294,388,false],"1536x1536":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/02\/chopins-legacy-the-enduring-appeal-of-the-remarkable-composer.jpg",294,388,false],"2048x2048":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/02\/chopins-legacy-the-enduring-appeal-of-the-remarkable-composer.jpg",294,388,false]},"uagb_author_info":{"display_name":"importmanagerhub@sprylab.com","author_link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/author\/importmanagerhubsprylab-com\/"},"uagb_comment_info":0,"uagb_excerpt":"By Alan Walker Published: Friday, 11 February 2022 at 12:00 am Musicology devours its own children. Time was when Fr\u00e9d\u00e9ric Chopin was generally regarded as a \u2018salon composer\u2019 of charming miniatures \u2013 mazurkas, waltzes, nocturnes \u2013 unworthy of a place in the pantheon. It never occurred to our forefathers that a small Prelude, for instance,…","_links":{"self":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/rss_feed\/12136"}],"collection":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/rss_feed"}],"about":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/types\/rss_feed"}],"author":[{"embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/users\/24"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/media\/12137"}],"wp:attachment":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/media?parent=12136"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/categories?post=12136"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}