{"id":636,"date":"2006-05-12T09:40:12","date_gmt":"2006-05-12T13:40:12","guid":{"rendered":"http:\/\/www.artsjournal.com\/riley\/wp\/2006\/05\/dummy_1\/"},"modified":"2006-05-12T09:40:12","modified_gmt":"2006-05-12T13:40:12","slug":"dummy_1","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/riley\/2006\/05\/dummy_1\/","title":{"rendered":"DUMMY"},"content":{"rendered":"<p><B><br \/>\n<\/B> <BR><BR><br \/>\n<a href=\"\" target=\"_blank\"><\/A><br \/>\n<BR><BR><br \/>\nTime was when a set of Chopin Nocturnes didn&#8217;t really make waves&#8230; everybody does&#8217;em, and recently the fad has centered more around the Preludes. Both can be mistaken for student pieces, but like everything else by our beloved Freddie, they&#8217;re all student pieces and every pianist is gonna play them to death so get used to it. <BR><BR><br \/>\n<BR><BR><br \/>\nStill, this DG set from Pollini stands out more for the pianist than for the material; it&#8217;s the kind of recording that could be defining for him, after eons of ravishing perfection, the great Italian takes his biggest risk and turns inward. <BR><BR><br \/>\n<BR><BR><br \/>\nAnother disc, from Japan&#8217;s Yundi Li, set him tackling the great warhorses with Schumann&#8217;s Carnaval, the gimmick is the Musikhuas in Wien. The clue to greatness lies in the opening Scarlattis. A couple weeks back<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Time was when a set of Chopin Nocturnes didn&#8217;t really make waves&#8230; everybody does&#8217;em, and recently the fad has centered more around the Preludes. Both can be mistaken for student pieces, but like everything else by our beloved Freddie, they&#8217;re all student pieces and every pianist is gonna play them to death so get used [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","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":[4],"tags":[],"class_list":{"0":"post-636","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/posts\/636","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/comments?post=636"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/posts\/636\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/media?parent=636"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/categories?post=636"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/tags?post=636"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}