{"id":378,"date":"2009-12-07T05:02:03","date_gmt":"2009-12-07T05:02:03","guid":{"rendered":"http:\/\/www.artsjournal.com\/pianomorphosis\/wp\/2009\/12\/bachtraum\/"},"modified":"2018-11-26T21:25:03","modified_gmt":"2018-11-27T02:25:03","slug":"bachtraum","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/pianomorphosis\/2009\/12\/bachtraum.html","title":{"rendered":"Bachtrauma"},"content":{"rendered":"<p><img loading=\"lazy\" decoding=\"async\" class=\"mt-image-right alignnone\" style=\"float: left; margin: 2px 140px 12px 2px;\" src=\"http:\/\/www.artsjournal.com\/pianomorphosis\/RichterAJ.jpg\" alt=\"RichterAJ.jpg\" width=\"292\" height=\"292\" \/><\/p>\n<div style=\"text-align: left;\">Gerhard Richter: <em>Bach<\/em> (1992)<\/div>\n<p>&nbsp;<br \/>\nIn my dream, J. S. Bach arrives to play on the clavier some of the pieces he&#8217;s written down, but as he plays, the strangeness of the <a href=\"http:\/\/en.wikipedia.org\/wiki\/Musical_temperament\">temperament<\/a> and lowness of pitch, the flexibility of beat and rhythmic declamation yields some of the things he plays unrecognized, for moments, or even a long while.<\/p>\n<p>This music that we own, this familiar canon, under his fingers it is so strange, so far from the received &#8220;this-is-how-it-goes&#8221; we have &#8212; that I don&#8217;t know the pieces he spins out.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Gerhard Richter: Bach (1992) &nbsp; In my dream, J. S. Bach arrives to play on the clavier some of the pieces he&#8217;s written down, but as he plays, the strangeness of the temperament and lowness of pitch, the flexibility of beat and rhythmic declamation yields some of the things he plays unrecognized, for moments, or [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":1200,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[1],"tags":[308,307,237,241,242,244,309,305,306],"class_list":{"0":"post-378","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-uncategorized","8":"tag-auffuhrungspraxis","9":"tag-authentic","10":"tag-bach","11":"tag-canon","12":"tag-canonic-repertoire","13":"tag-canonic-repertory","14":"tag-hip","15":"tag-j-s-bach","16":"tag-performance-practice","17":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/posts\/378","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/comments?post=378"}],"version-history":[{"count":5,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/posts\/378\/revisions"}],"predecessor-version":[{"id":4995,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/posts\/378\/revisions\/4995"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/media\/1200"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/media?parent=378"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/categories?post=378"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/tags?post=378"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}