{"id":51011,"date":"2025-01-06T11:56:46","date_gmt":"2025-01-06T10:56:46","guid":{"rendered":"http:\/\/f435194e-6a1c-4645-a590-66fe1811c7be"},"modified":"2025-01-06T13:09:20","modified_gmt":"2025-01-06T12:09:20","slug":"alexander-scriabin-mystic-avant-gardist-devil-worshipper","status":"publish","type":"rss_feed","link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/rss_feed\/alexander-scriabin-mystic-avant-gardist-devil-worshipper\/","title":{"rendered":"Alexander Scriabin: mystic, avant-gardist, devil worshipper"},"content":{"rendered":"

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By <\/p>

Published: Monday, 06 January 2025 at 10:56 AM<\/p>

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It is hard to find a more colourful personality than Alexander Scriabin when trawling through the history of pianist-composers. Trust me, I\u2019ve tried.<\/p>

Born on Christmas Day, dying at Easter, and surrounded by controversy throughout his life, Scriabin himself did little to discourage people from seeing him as a kind of Messiah.<\/p>

He strongly believed that spiritual liberation could be achieved through art and the God experience attained through stimulation of various human senses.<\/p>

For his very last piece, Mysterium<\/em>, when Scriabin was preparing humanity for the final salvation, he wanted to synthesise all the human senses through one orgiastic performance of this piece. This was going to be the culmination of all his life-long visions.<\/p>

Temples, incense, giant bells hanging from the clouds: the wild world of Scriabin’s Mysterium<\/em><\/a><\/strong><\/li> <\/ul>
Naturally, the performance was planned to last seven days in the Indian foothills of the Himalayas, beginning with bells suspended from the clouds (just think of the production costs). But wait: they would also shatter the universe with their lethal vibrations, after which humanity was to be replaced by better, \u2018nobler beings\u2019.<\/p>

Sadly, he never completed the piece. Just as he was writing texts about death, death arrived for him. Scriabin died from an infected pimple on his lip. That said, back in 2015, a group of musicians headed into the Himalayas to reaise some of Scriabin’s dream<\/a><\/strong>…<\/p>

<\/div> <\/figure> <h2 class=\"wp-block-heading\">Scriabin once attempted to walk on water<\/h2> <p>Aside from his innovative ideas, Scriabin was no less wacky as a person. He liked elucidating his dreams while standing on chairs, as if floating in the air, and once attempted to walk on the waters of Lake Geneva; when failing this, he made do with preaching to the fishermen from a boat.<\/p> <p>Scriabin\u2019s friends described his manner of walking as if he was \u2018flying\u2019: he would hop, race, skip and jump. In fact, he even carried out \u2018flying experiments\u2019 with his wife, attempting to transport his body through the air.<\/p> <p>Nothing wrong with that of course, but to some, he did seem positively nutty. \u2018Isn\u2019t he losing his mind perhaps?\u2019, his fellow Russian composer <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/nikolay-rimsky-korsakov\">Nikolai Rimsky-Korsakov<\/a><\/strong> once remarked after a concert.<\/p> <p>He wasn\u2019t always mind-less. His life started out quite normally, or apparently so. Born into a family of aristocrats, he was a contemporary of <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/sergey-rachmaninov\">Sergey Rachmaninov<\/a><\/strong> and, like the latter, had lessons from the famous disciplinarian Zverev.<\/p> <p>He later went to the Moscow Conservatory to study piano and composition with Sergei Taneyev, as did Rachmaninov, with whom he formed a life-long friendship.<\/p> <ul class=\"wp-block-list\"\/> <p>While there, he strained his hand severely while learning <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/franz-liszt\">Liszt<\/a><\/strong>\u2019s <em>Don Juan Fantasy<\/em> and <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/mily-balakirev\">Mily Balakirev<\/a><\/strong>\u2019s exotic, virtuosic solo piano work<em> Islamey<\/em>. This resulted in two compositions for left hand alone, the Prelude and Nocturne Op. 9, the latter one of Scriabin\u2019s most introspective pieces.<\/p> <figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"> <div class=\"wp-block-embed__wrapper\"> <iframe loading=\"lazy\" title=\"Alexander Scriabin - Prelude & Nocturne for the Left Hand, Op. 9\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/R7A7lgKI3x8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/> <\/div> <\/figure> <p>Scriabin also trained his one uninjured hand hard and, from this moment on, most of his piano repertoire remained incredibly difficult for the left hand.<\/p> <ul class=\"wp-block-list\"> <li><a href=\"https:\/\/www.classical-music.com\/features\/works\/5-essential-works-left-hand-piano\"><strong>Five of the best pieces written for left hand piano<\/strong><\/a><\/li> <\/ul> <h2 class=\"wp-block-heading\">Dark undertones: a guide to the Scriabin style<\/h2> <p>Despite fairly traditional Russian training, Scriabin\u2019s music speaks its own language entirely and has no \u2018Russian-ness\u2019 or nationalistic traces in it. Some of the early compositions, like his Mazurkas, early <strong><a href=\"https:\/\/www.classical-music.com\/features\/musical-terms\/prelude\">Preludes<\/a><\/strong> and Etudes, and even his only Piano Concerto are said to be heavily influenced by <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/frederic-chopin\">Chopin<\/a><\/strong>. However, this seems an unfair comparison.<\/p> <p>While he did make use of forms that Chopin himself employed, Scriabin’s compositions are all through-and-through \u2018Scriabin\u2019; and if you listen carefully, they already carry the kind of dark undertones that envelop his later works.<\/p> <p>What some might have found confusing is the unbelievable and speedy metamorphosis that his music, and indeed Scriabin himself, underwent: from the early 19th-century <strong><a href=\"https:\/\/www.classical-music.com\/best-romantic-composers\">Romantic<\/a><\/strong> of graceful mor\u00e7eaux to a mystical, devil-worshipping avant-gardist.<\/p> <h3 class=\"wp-block-heading\">His work gets darker and more complex as time goes on<\/h3> <p>His ten piano sonatas are a case in point: with the First Sonata composed at 21 and the Tenth two years before his death, they are the thread that joins together his entire output and show off precisely this transformation at its best.<\/p> <p>Scriabinophiles often focus on his late works, from about Op. 53 (the Piano Sonata No. 5) \u2013 the later the opus number, the more difficult and complex the audience will find his music. For the pianist, it is the opposite.<\/p> <figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"> <div class=\"wp-block-embed__wrapper\"> <iframe loading=\"lazy\" title=\"Hamelin plays Scriabin - Piano Sonata No.5 [HIGH QUALITY]\" width=\"800\" height=\"600\" src=\"https:\/\/www.youtube.com\/embed\/emYTG80B2vU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/> <\/div> <\/figure> <ul class=\"wp-block-list\"\/> <p>From a musical point of view, I have always found his early to middle period as the most challenging, as the works reside somewhere between an illusionary impressionism (<strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/claude-debussy\">Debussy<\/a><\/strong> or <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/maurice-ravel\">Ravel<\/a><\/strong>, say) and outbursts of Romanticism, with a hint of darkness.<\/p> <p>His Second Piano Sonata-Fantaisie, Op. 19, is a good example. Intriguingly, this early work is inspired by three different seas: the Baltic, the Black Sea and the Mediterranean.<\/p> <h3 class=\"wp-block-heading\">No other work conveys an experience so vividly<\/h3> <p>Scriabin writes: \u2018The first section represents the quiet of a southern night on the seashore; the development is the dark agitations of the deep, deep sea. The E major middle section shows caressing moonlight coming after the first darkness of night. The second movement, <em>Presto<\/em>, represents the vast expanse of ocean stormily agitated.\u2019<\/p> <ul class=\"wp-block-list\"> <li><strong><a href=\"https:\/\/www.classical-music.com\/features\/works\/moon-music\">The most evocative music inspired by the moon<\/a><\/strong><\/li> <li><strong><a href=\"https:\/\/www.classical-music.com\/features\/works\/classical-night-music\">Peaceful moonlit evenings to witching-hour nightmares: classical music inspired by night<\/a><\/strong><\/li> <\/ul> <figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"> <div class=\"wp-block-embed__wrapper\"> <iframe loading=\"lazy\" title=\"Yunchan Lim \u2013 SCRIABIN \u2013 Sonata No. 2 in G-sharp Minor, op. 19 (\u201cSonata-Fantasy\u201d)\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/Jub_31maG4s?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/> <\/div> <\/figure> <p>It is hard to find another work that is capable of recreating a complete emotional experience of a simple natural occurrence so vividly: the sounds, <strong><a href=\"https:\/\/www.classical-music.com\/features\/musical-terms\/what-is-harmony-in-music\">harmonies<\/a><\/strong> and textures manipulate the senses to the extent that you might be able to smell the sea air, taste the salt water and sometimes even feel the fresh breeze change directions.<\/p> <h2 class=\"wp-block-heading\">Scriabin, the composer who saw sound as colour<\/h2> <p>Scriabin was a master of such manipulation and there is possibly a good reason for it: it seems he had an unusual gift of using the medium usually responsible to stimulate one sense (in this case hearing), to stimulate and trigger responses from any of the other four, either singularly or in combination, causing all sorts of unusual sensations.<\/p> <p>A lot has been made of his apparent <strong><a href=\"https:\/\/www.classical-music.com\/features\/musical-terms\/what-is-synaesthesia\">synaesthesia<\/a><\/strong>, not least because he included in his <em>Prometheus<\/em> (1910) a <em>clavier \u00e0 lumi\u00e8res<\/em> which, played like a piano, projects coloured light into the concert hall. But that hardly scratches the surface of this phenomenon.<\/p> <ul class=\"wp-block-list\"> <li><strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/5-composers-synesthesia\">Synaesthesia: eight composers who saw sound as colour<\/a><\/strong><\/li> <\/ul> <figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"> <div class=\"wp-block-embed__wrapper\"> <iframe loading=\"lazy\" title=\"Scriabin's Prometheus: Poem of Fire\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/V3B7uQ5K0IU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\/> <\/div> <\/figure> <p>The point is, I think, that Scriabin was thinking and feeling entirely in music while at the same time, inversely, he could use music as a medium to evoke any experience and any emotion that goes with it, in me and you. Even if he didn\u2019t quite manage to suspend those bells from the clouds, it is not too far-fetched to think that an impression could have been created as if he did.<\/p> <h3 class=\"wp-block-heading\">Listeners describe visions of light and bolts of fire<\/h3> <p>Still nutty? Possibly, but this effect has been described numerous times. One London critic, for example, wrote: \u2018In my own case, on two occasions, I have seen radiant flashes of blinding coloured lights during performances of Scriabin\u2019s music\u2026 It was totally different from the \u201cthrill\u201d of sensation or \u201ctears\u201d of pleasure\u2026 This experience convinces me that Scriabin\u2019s music adjusts or negotiates human sensibilities in a mysterious and intuitive manner.\u2019<\/p> <p>Others describe visions of waves of light, golden ships on violet oceans, and bolts of fire during performances.<\/p> <ul class=\"wp-block-list\"\/> <h2 class=\"wp-block-heading\">Scriabin and sex<\/h2> <p>Scriabin also introduced sex into music. He himself wrote that the creative act is inextricably linked to the sexual act \u2013 \u2018I definitely know that in myself the creative urge has all the signs of sexual stimulation\u2026\u2019 \u2013 and even in his earlier works, like the \u00c9tude in D sharp minor, Op. 8 No. 12 (1894), which later became a trademark piece of the great Russian pianist Vladimir Horowitz, one can find many suggestive erotic elements.<\/p> <p>While acknowledging <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/johannes-brahms\">Brahms<\/a><\/strong>\u2019s romanticism and <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/richard-wagner\">Wagner<\/a><\/strong>\u2019s gardens of worldly temptations, Scriabin penetrated the subject further, when he wrote pieces entitled <em>D\u00e9sir<\/em> (Desire), <em>Caresse dans\u00e9<\/em> (Danced caress), and, above all, the <strong><a href=\"https:\/\/www.classical-music.com\/features\/musical-terms\/what-tone-poem\">tone poem<\/a><\/strong> <em>Po\u00e8me de l\u2019extase<\/em> (Poem of Ecstasy).<\/p> <h6 class=\"wp-block-heading\">He added a poem that leaves little to the imagination<\/h6> <p>Scriabin accompanied <em>Po\u00e8me de l\u2019extase<\/em> with a written poem that leaves little to the imagination, while some of his score markings for the orchestral piece provide a naughty read: <em>molto languido<\/em> (as languid as possible), <em>tr\u00e8s parfum\u00e9<\/em> (very perfumed) and <em>avec une volupt\u00e9 de plus en plus extatique<\/em> (with a voluptuousness becoming more and more ecstatic).<\/p> <figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"> <div class=\"wp-block-embed__wrapper\"> <iframe loading=\"lazy\" title=\"Scriabin: The Poem of Ecstasy \/ Salonen \u00b7 The Philharmonia Orchestra\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/HAnVrdQ3qFk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\/> <\/div> <\/figure> <h3 class=\"wp-block-heading\">Misunderstood by the Soviets<\/h3> <p>While procreation itself was greatly encouraged by the Soviet regime that came soon after Scriabin\u2019s death, anything else surrounding the matter was heavily censored. Yet in order to make Scriabin\u2019s greatness compatible with their brainwashed, uptight socio-realistic propaganda, the authorities had no choice but to obscure and caricature him, and quite perversely so.<\/p> <p>In complete disregard of the explicit sexual and mystical contexts, Scriabin was made into a revolutionary, cosmonautic mascot. \u2018A triumphant synthesis of the meaning of art and revolution\u2019, the magazine <em>Soviet Music<\/em> summarised, and when cosmonaut Yuri Gagarin performed the first flight into space in 1961, it was, quite inappropriately, the <em>Po\u00e8me de l\u2019extase<\/em> that was broadcast on All-Union Soviet Radio as an emphatic accompaniment.<\/p> <ul class=\"wp-block-list\"> <li><strong><a href=\"https:\/\/www.classical-music.com\/articles\/six-of-the-best-pieces-of-soviet-chamber-music\">Six of the best Soviet chamber music works<\/a><\/strong><\/li> <li><strong><a href=\"https:\/\/www.classical-music.com\/articles\/six-best-lesser-known-works-soviet-composers\">Six lesser-known works by Soviet composers<\/a><\/strong><\/li> <\/ul> <p>Yet the Western perception of Scriabin hasn\u2019t been flawless either. And therein lies the irony: while the Soviets were \u2018ordered\u2019 to misunderstand him, much of the audience in the West did so voluntarily. It could not be helped.<\/p> <p>The meanings behind his music often crossed over into madness \u2013 this, combined with its euphoric nature, often led to freakish opinions resulting in his audience appearing no less mad than the music.<\/p> <h2 class=\"wp-block-heading\">His music became more nightmarish<\/h2> <p>From around Op. 58 (1909’s ‘Feuillet d’album’), Scriabin\u2019s music starts to move away from <strong><a href=\"https:\/\/www.classical-music.com\/features\/musical-terms\/what-is-tonality\">tonality<\/a><\/strong> and into unusual clusters of chords, presaging his famous \u2018Mystic Chord\u2019, begin to appear more frequently. The Sixth Sonata Op. 62 is the first Scriabin work without a key signature.<\/p> <p>The music becomes more chromatic, more nightmarish and more mystical, and the score markings begin to resemble black-magic spells, rather than instructions: <em>l\u2019\u00e9pouvante surgit<\/em> (surge of terror) and <em>mena\u00e7ant\u2026 sombre mysterieux<\/em>.<\/p> <figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"> <div class=\"wp-block-embed__wrapper\"> <iframe loading=\"lazy\" title=\"Scriabin: Piano Sonata No. 6, Op. 62\" width=\"800\" height=\"600\" src=\"https:\/\/www.youtube.com\/embed\/dejZeVo2xus?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/> <\/div> <\/figure> <p>The kind of spirits Scriabin starts to appeal to become less and less friendly. In fact, Piano Sonata No. 9 Op. 68 is nicknamed \u2018Black Mass\u2019 \u2013 while the Seventh Sonata exorcises the demons, the Ninth is all about summoning them back into living Hell.<\/p> <h3 class=\"wp-block-heading\">The Ninth Sonata evokes devil worship, sadism, necrophilia and more<\/h3> <p>This piece was conceived during an extraordinary period in the history of Russia, full of political turmoil foreboding the <strong><a href=\"https:\/\/www.historyextra.com\/membership\/the-red-dawn-the-october-revolution\/\">October Revolution<\/a><\/strong> of 1917. Uncertainty and fears about the future were reflected in the confused spiritual state of the people \u2013 the rituals implied in the Ninth Sonata vividly reflect acts of devil worship, sadism, necrophilia, cannibalism and all the other perverse, blasphemous ceremonies that were thriving all over Russia.<\/p> <ul class=\"wp-block-list\"> <li><strong><a href=\"https:\/\/www.classical-music.com\/news\/sancta-florentina-holzinger\">The opera with live sex and body piercing that has audiences vomiting in the aisles<\/a><\/strong><\/li> <\/ul> <figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"> <div class=\"wp-block-embed__wrapper\"> <iframe loading=\"lazy\" title=\"Trifonov plays Scriabin Sonata No. 9 Op. 68 "Black Mass"\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/aD5A4aK9p6w?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/> <\/div> <\/figure> <p>There is no direct evidence that Scriabin was actively involved in any of the hardcore rites, even if he insisted that he was \u2018practising sorcery\u2019 whenever playing this sonata. But some of his friends certainly did: the painter Nikolai Sperling drank human blood and ate human flesh in order to achieve some sort of mystical experiences.<\/p> <p>Leaving aside the peculiarities of his genius, just a quick glance at the great Scriabin-advocates such as pianists Vladimir Sofronitsky, Horowitz, John Ogdon and Sviatoslav Richter, shows how there is something highly viral \u2013 poisonous, even \u2013 about his music that infects the listener no less than the performer, and spreads quickly.<\/p> <p>If you are not a Scriabin-zombie yet, do get a recording and be bitten soon. Life does not have the same colours without him.<\/p> <p><em>Yevgeny Sudbin<\/em><\/p> <p><iframe src=\"https:\/\/embed.music.apple.com\/us\/playlist\/alexander-scriabin-essentials\/pl.7a2c0d824ccd4c639ee9a7d273114e7f?app=music\" height=\"450\" frameborder=\"0\"\/><\/p> <\/body><\/html>\n<hr class=\"no-tts wp-block-separator\"\/>","protected":false},"excerpt":{"rendered":"<p>By Published: Monday, 06 January 2025 at 10:56 AM It is hard to find a more colourful personality than Alexander Scriabin when trawling through the history of pianist-composers. Trust me, I\u2019ve tried. Born on Christmas Day, dying at Easter, and surrounded by controversy throughout his life, Scriabin himself did little to discourage people from seeing […]<\/p>\n","protected":false},"author":24,"featured_media":51012,"template":"","categories":[1,17],"acf":{"readingTimeMinutes":"9"},"uagb_featured_image_src":{"full":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2025\/01\/alexander-scriabin-mystic-avant-gardist-devil-worshipper.jpg",1200,800,false],"thumbnail":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2025\/01\/alexander-scriabin-mystic-avant-gardist-devil-worshipper-150x150.jpg",150,150,true],"medium":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2025\/01\/alexander-scriabin-mystic-avant-gardist-devil-worshipper-300x200.jpg",300,200,true],"medium_large":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2025\/01\/alexander-scriabin-mystic-avant-gardist-devil-worshipper-768x512.jpg",768,512,true],"large":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2025\/01\/alexander-scriabin-mystic-avant-gardist-devil-worshipper-1024x683.jpg",800,534,true],"1536x1536":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2025\/01\/alexander-scriabin-mystic-avant-gardist-devil-worshipper.jpg",1200,800,false],"2048x2048":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2025\/01\/alexander-scriabin-mystic-avant-gardist-devil-worshipper.jpg",1200,800,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 Published: Monday, 06 January 2025 at 10:56 AM It is hard to find a more colourful personality than Alexander Scriabin when trawling through the history of pianist-composers. Trust me, I\u2019ve tried. Born on Christmas Day, dying at Easter, and surrounded by controversy throughout his life, Scriabin himself did little to discourage people from seeing…","_links":{"self":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/rss_feed\/51011"}],"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\/51012"}],"wp:attachment":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/media?parent=51011"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/categories?post=51011"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}