{"id":432,"date":"2011-02-24T06:31:23","date_gmt":"2011-02-24T06:31:23","guid":{"rendered":"http:\/\/www.artsjournal.com\/pianomorphosis\/wp\/2011\/02\/departure\/"},"modified":"2018-02-28T22:09:52","modified_gmt":"2018-03-01T03:09:52","slug":"departure","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/pianomorphosis\/2011\/02\/departure.html","title":{"rendered":"Departure"},"content":{"rendered":"<p>In J. S. Bach&#8217;s Capriccio, BWV 992 I noticed strongly emotional content in an unusually repetitious passage &#8212; a place where as the keyboardist&#8217;s right hand stays in place repeating a simple figure the left hand incrementally departs physically, signifying departure, descending step by step lower and lower.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"mt-image-center alignnone\" style=\"text-align: center; display: block; margin: 0pt 15px 15px;\" src=\"http:\/\/www.artsjournal.com\/pianomorphosis\/assets_c\/2011\/02\/JSB992AJ-thumb-200x106-19168.jpg\" alt=\"Thumbnail image for JSB992AJ.jpg\" width=\"200\" height=\"106\" \/><\/p>\n<p>Something similar occurs in Schubert&#8217;s G-flat-Major Impromptu:<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"mt-image-left\" style=\"float: left; margin: 0 20px 20px 0;\" src=\"http:\/\/www.artsjournal.com\/pianomorphosis\/90AJ1.jpg\" alt=\"90AJ1.jpg\" width=\"500\" height=\"206\" \/><\/p>\n","protected":false},"excerpt":{"rendered":"<p>In J. S. Bach&#8217;s Capriccio, BWV 992 I noticed strongly emotional content in an unusually repetitious passage &#8212; a place where as the keyboardist&#8217;s right hand stays in place repeating a simple figure the left hand incrementally departs physically, signifying departure, descending step by step lower and lower. Something similar occurs in Schubert&#8217;s G-flat-Major Impromptu:<\/p>\n","protected":false},"author":2,"featured_media":1106,"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":[237,669,670,530,16,668,239],"class_list":{"0":"post-432","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-uncategorized","8":"tag-bach","9":"tag-bwv-992","10":"tag-capriccio","11":"tag-musical-signification","12":"tag-schubert","13":"tag-semiotics","14":"tag-signification","15":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/posts\/432","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=432"}],"version-history":[{"count":3,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/posts\/432\/revisions"}],"predecessor-version":[{"id":4710,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/posts\/432\/revisions\/4710"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/media\/1106"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/media?parent=432"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/categories?post=432"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/tags?post=432"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}