{"id":35,"date":"2019-10-07T21:56:27","date_gmt":"2019-10-07T21:56:27","guid":{"rendered":"http:\/\/jannotta-schneider.de\/?page_id=35"},"modified":"2019-10-20T18:09:20","modified_gmt":"2019-10-20T18:09:20","slug":"presse","status":"publish","type":"page","link":"http:\/\/jannotta-schneider.de\/en\/presse\/","title":{"rendered":"Press"},"content":{"rendered":"\n<div class=\"wp-block-columns has-2-columns\">\n<div class=\"wp-block-column\">\n<figure class=\"wp-block-image\"><img loading=\"lazy\" width=\"768\" height=\"1024\" src=\"http:\/\/jannotta-schneider.de\/wp-content\/uploads\/2019\/10\/Wald-768x1024.jpg\" alt=\"\" class=\"wp-image-188\" srcset=\"http:\/\/jannotta-schneider.de\/wp-content\/uploads\/2019\/10\/Wald-768x1024.jpg 768w, http:\/\/jannotta-schneider.de\/wp-content\/uploads\/2019\/10\/Wald-225x300.jpg 225w, http:\/\/jannotta-schneider.de\/wp-content\/uploads\/2019\/10\/Wald.jpg 1034w\" sizes=\"(max-width: 706px) 89vw, (max-width: 767px) 82vw, 740px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column\">\n<p><\/p>\n\n\n\n<p>The Festival of the Munich Society for New Music<\/p>\n\n\n\n<p style=\"font-size:14px;text-align:left\">&#8230; began with Roger Jannotta\u2019s \u201cForest\u201d (quintet version). The quintet, comprising of two woodwinds (flute and clarinet) and two strings (violin and cello), as well as the piano as a resounding counterpart, depicts the composer\u2019s walk through the Aubing woods. It never becomes tangible, however: in an indirect and discreet manner, the music remains harmonically and rhythmically ambiguous; and, in its clear intention towards abstraction, is consistent with 20<sup>th<\/sup> century modernity.<\/p>\n\n\n\n<p><em>&nbsp;&nbsp;&nbsp;\nRita Argauer, Sueddeutsche Zeitung<\/em><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>The Festival of the Munich Society for New Music &#8230; began with Roger Jannotta\u2019s \u201cForest\u201d (quintet version). The quintet, comprising of two woodwinds (flute and clarinet) and two strings (violin and cello), as well as the piano as a resounding counterpart, depicts the composer\u2019s walk through the Aubing woods. It never becomes tangible, however: in &hellip; <\/p>\n<p class=\"link-more\"><a href=\"http:\/\/jannotta-schneider.de\/en\/presse\/\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;Press&#8221;<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"open","template":"","meta":[],"translation":{"provider":"WPGlobus","version":"3.0.1","language":"en","enabled_languages":["de","en"],"languages":{"de":{"title":true,"content":true,"excerpt":false},"en":{"title":true,"content":true,"excerpt":false}}},"_links":{"self":[{"href":"http:\/\/jannotta-schneider.de\/en\/wp-json\/wp\/v2\/pages\/35"}],"collection":[{"href":"http:\/\/jannotta-schneider.de\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/jannotta-schneider.de\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/jannotta-schneider.de\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"http:\/\/jannotta-schneider.de\/en\/wp-json\/wp\/v2\/comments?post=35"}],"version-history":[{"count":9,"href":"http:\/\/jannotta-schneider.de\/en\/wp-json\/wp\/v2\/pages\/35\/revisions"}],"predecessor-version":[{"id":311,"href":"http:\/\/jannotta-schneider.de\/en\/wp-json\/wp\/v2\/pages\/35\/revisions\/311"}],"wp:attachment":[{"href":"http:\/\/jannotta-schneider.de\/en\/wp-json\/wp\/v2\/media?parent=35"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}