{"id":4027,"date":"2026-06-12T19:30:23","date_gmt":"2026-06-12T23:30:23","guid":{"rendered":"https:\/\/www.artsjournal.com\/uq\/?p=4027"},"modified":"2026-06-12T19:30:24","modified_gmt":"2026-06-12T23:30:24","slug":"why-gustav-mahlers-new-york-career-was-a-failure","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/uq\/2026\/06\/why-gustav-mahlers-new-york-career-was-a-failure.html","title":{"rendered":"Why Gustav Mahler\u2019s New York Career Was a \u201cFailure\u201d"},"content":{"rendered":"<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full is-resized\"><a href=\"https:\/\/www.artsjournal.com\/uq\/wp\/wp-content\/uploads\/2026\/06\/image-5.png\"><img loading=\"lazy\" decoding=\"async\" width=\"204\" height=\"192\" src=\"https:\/\/www.artsjournal.com\/uq\/wp\/wp-content\/uploads\/2026\/06\/image-5.png\" alt=\"\" class=\"wp-image-4031\" style=\"width:506px;height:auto\"\/><\/a><\/figure>\n<\/div>\n\n\n<p class=\"wp-block-paragraph\">The critic Henry Krehbiel notoriously called Gustav Mahler\u2019s New York career a failure, undone by \u201cfoolishness and naivete.\u201d Most accounts of Mahler\u2019s life take issue with this opinion, or refuse to take it seriously. But Krehbiel knew what he was talking about.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">At the <a href=\"https:\/\/www.artsjournal.com\/uq\/2024\/05\/why-colorado-mahlerfest-matters.html\">Colorado Mahlerfes<\/a>t last May, Krehbiel and his Mahler verdict were debated. The debaters were Hilan Warshaw (director of a Mahler-in-New-York\u00a0<strong><a href=\"https:\/\/overtonefilms.com\/portfolio\/mahler-in-new-york\/\">documentary<\/a> film\u00a0<\/strong>screened at the festival), and myself (author of a Mahler-in-New-York\u00a0<strong><a href=\"https:\/\/www.josephhorowitz.com\/the-marriage\">novel<\/a><\/strong>\u00a0and also of a\u00a0<strong><a href=\"https:\/\/www.artsjournal.com\/uq\/2026\/05\/who-was-alma-mahler.html\">new play<\/a><\/strong>\u00a0produced at the festival).\u00a0\u00a0You can see the action here (with Thomas Tape as referee):<\/p>\n\n\n\n<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\">\n<span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/D1OtJCWd0Uw?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Hilan\u2019s argument begins at 13:05, my rebuttal at 22:36. We tackle Krehbiel separately beginning at 32:25.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Hilan claims that Mahler\u2019s accomplishments at the Met and the New York Philharmonic were \u201chuge\u201d and that he \u201cclearly loved America.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I less quibbled with these claims \u2013 Mahler was of course a man of immense talent and energy &#8212; than added context. Krehbiel was looking for a cultural leader to help shepherd the nation\u2019s nascent classical music culture \u2013 in particular, its fledgling composers. Compared to Anton Seidl and Antonin Dvorak, whose New York careers (1885 to 1898) cast long shadows, Mahler lived inside his own head. Dvorak, given his proclivities, was bound to compose a descriptive New World Symphony. Mahler\u2019s creative response to his environment \u2013 notably, to forests and mountains \u2013 was preponderantly interior. Seidl took American citizenship, summered in the Catskills when he wasn\u2019t conducting fourteen times weekly on Coney Island, led all-American programs, tutored American composers, and hung out daily with Dvorak at Fleischmann\u2019s Caf\u00e9. Mahler did none of those things. Krehbiel cherished personal memories of Seidl and Dvorak both. Mahler was a different species.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A disagreement early in Mahler\u2019s New York Philharmonic tenure encapsulated their differences. In later life, Krehbiel testified that the supreme honor of his professional career was assisting Dvorak in the New York success of his&nbsp;<em>New World<\/em> Symphony. He had met with the composer, who supplied commentary and musical examples (an encounter I envision in my new novel&nbsp;<a href=\"https:\/\/www.josephhorowitz.com\/the-disciple\"><em>The<\/em>&nbsp;<em>Disciple: A Wagnerian Tale of the Gilded Age<\/em><\/a>). Krehbiel deployed these musical citations in a profusely detailed <em>New York<\/em>&nbsp;<em>Tribune<\/em>&nbsp;introduction to the work, prepping an audience for a great event. He saw himself as a cultural custodian.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In fact, Krehbiel had his hands in all aspects of the young nation\u2019s musical life. He wrote the first book musically examining African-American folk song. He acclaimed the complex rhythms of Dahomian drummers at the World Columbian Exposition (dismissed by other writers as \u201csavages\u201d), and likewise esteemed Jewish and Native-American song. He translated&nbsp;<em>Parsifal<\/em>&nbsp;into English so the Met could continue performing it during World War I. He wrote the most-used layman\u2019s guide for musical novices. The list is endless. In fact, he cannot be categorized as a \u201ccritic.\u201d&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">That Krehbiel was also program annotator of the New York Philharmonic should therefore not be written off as a \u201cconflict of interest.\u201d Rather, it was an opportunity. In that capacity, he requested the composer\u2019s assistance annotating Mahler\u2019s First Symphony for its first American premiere, led by the composer. Specifically, he requested permission to quote a letter in which Mahler disclosed a program for the symphony (in an earlier form). Mahler said no. Krehbiel\u2019s frustration may be gauged from the hilarious program note he supplied. It read in part:<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cIn deference to the wish of Mr. Mahler, the annotator of the Philharmonic Society\u2019s programmes refrains from even an outline analysis of the symphony which he is performing for the first time in New York on this occasion as also from an attempt to suggest what might be or has been set forth as its possible poetical, dramatic, or emotional contents.&nbsp;&nbsp;. . Mr. Mahler\u2019s conviction, frequently expressed publicly as well as privately, is that it is a hindrance to appreciation to read an analysis which with the help of musical examples lays bare the contents and structure of a composition while it is playing. All interest and attention should be concentrated on the music itself. . . . All writings about music, even those of musicians themselves, he holds to be injurious to musical enjoyment.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As I insist in my debate with Hilan, none of my Mahler observations \u201care to be held against him.\u201d He was put on earth to compose great symphonies, not to preside over the burgeoning musical life of a great city.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Henry Krehbiel\u2019s final Mahler verdict gauges his annoyance and disappointment. It also gauges his fervor and idealism \u2013 qualities he possessed in common with Gustav Mahler, differently applied.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">***<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>&nbsp;Here\u2019s a pertinent excerpt from \u201c<a href=\"https:\/\/www.josephhorowitz.com\/the-disciple\">The Disciple\u201d<\/a>:<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Threading his way through the mid-day bustle of Stuyvesant Square, sidestepping puddles of ice and snow, Krehbiel found himself auditioning the speech of bundled immigrant mothers and grandmothers: the Yiddish guttural and excited, the Irish euphonious and laced with felicities of expression, the Slavic thick with glutinous consonants. St. George\u2019s Episcopal \u2013 J. P. Morgan\u2019s church \u2013 lent a welcome if incongruous formality to the multifarious human spectacle. If this was one face of America, so much the better; it bristled with animation and expectation. His breath lingering in the chill air, he navigated northeast towards Seventeenth Street between First and Second Avenues, descended a short stone staircase, and knocked. A man in shirtsleeves opened the door. He was swarthy and broad-nosed, with wild red whiskers and deep-set black eyes: a countenance at once lined, livid, and dignified.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cDr.&nbsp;Dvo\u0159\u00e1k.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cHerr Krehbiel.&nbsp;<em>Bitte<\/em>.\u201d&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The bird cages were open; he could both hear and inhale the thrushes. Having visited before, he understood that he was expected to ignore them, and also the children underfoot. There would be no greetings, no small talk. The little room he entered smelled of tobacco, which was better. They proceeded to converse in German.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cI must thank you again for this opportunity.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dvo\u0159\u00e1k&nbsp;pointed to a chair astride a table.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cHaving already heard your new symphony in rehearsal under Herr Seidl, I am certain that it is a landmark achievement. I hope to publish certain excerpts from the score with commentary. With your permission.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Krehbiel laboriously removed his overcoat and fumbled with a worn briefcase from which he extracted a notebook and two pages of music paper, neatly inscribed. He placed these on the table and waited while&nbsp;Dvo\u0159\u00e1k&nbsp;sat. Krehbiel settled himself opposite;&nbsp;&nbsp;the chair creaked in protest.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cWould you be so kind as to look at these with me and offer some remarks I can share with our musical public? This first example, the main subject of the first movement . . . \u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dvo\u0159\u00e1k\u2019s gaze remained remote.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cCould we suggest something racial here? The Scotch snap? The pentatonic scale?\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dvo\u0159\u00e1k&nbsp;raised his eyebrows and shrugged his shoulders.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cThese are folk music traits, are they not?\u201d Krehbiel persisted. \u201cThey color, shall we say, the Negro melodies of our friend Mr. Burleigh? Certain Indian chants? Could we call this theme \u2018American\u2019\u201d?<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cIf you wish. These features are common to many forms of folk music, of course.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Krehbiel pointed to the next musical example. He had labeled it \u201cMovement One: Third Principal Subject.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cAnd this beautiful and poignant theme, Dr.&nbsp;Dvo\u0159\u00e1k, is it not influenced by our slave songs? Does it not evoke some of the specimens I have shared with you? Does it not in fact specifically resemble \u2018Swing Low, Sweet Chariot\u2019?\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dvo\u0159\u00e1k&nbsp;gestured a kind of assent by opening his hands.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Krehbiel\u2019s plump index finger moved downward to an example marked \u201cMovement Two Principal Subject.\u201d&nbsp;&nbsp;\u201cAnd surely this tune, the one introduced by the English horn, is flavored by plantation song. Or could we perhaps say that it suggests the loneliness of a night on the prairie?\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cThe American prairie is a lonely place. Empty. Sad.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cThank you, Doctor. And here we have your trills, your birdcalls \u2013 animal life on the prairie scene.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cBirds. Of course.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cAnd the Scherzo? What are its national characteristics? Something Indian?\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dvo\u0159\u00e1k&nbsp;lifted his chin in a quizzical way. \u201cThe scherzo also has its birdcalls. I don\u2019t see them here.\u201d&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cYes, of course, the flutes in the Trio section. Could you possibly write those out? I would be very grateful.\u201d&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dvo\u0159\u00e1k&nbsp;took a sheet of music paper and patiently set to work. Krehbiel admired the efficiency of&nbsp;Dvo\u0159\u00e1k\u2019s hand. The passages materialized gradually on two staves, fully harmonized. What kind of a man kept birds in his home uncaged? A rustic man, one who himself felt caged in a tall island city teeming with inhabitants. One who rarely set foot on the city\u2019s hard pavement without the companionship of his eager amanuensis&nbsp;Kov\u00e1\u0159\u00edk. An imbibing man who best enjoyed simple conversation and company, or the organ loft of an unprepossessing country church. A man whose fascination with the city\u2019s departing railroad trains and ocean vessels \u2013 from Grand Central Depot; from the great downtown harbors \u2013 told of restlessness, loneliness, homesickness . . .&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cMy birds modulate from E minor to E major.\u201d&nbsp;Dvo\u0159\u00e1k&nbsp;was still writing. \u201cYou must not underestimate the musicianship of birds.\u201d&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Krehbiel\u2019s own musical examples included one more specimen, labeled \u201cMovement Four &#8212; Violas.\u201d It showed a three-note tune chasing its tail. \u201cCould I trouble you with a final inquiry, Dr.&nbsp;Dvo\u0159\u00e1k? Forgive my possible effrontery, but to all American ears this\u201d &#8212; he pointed &#8212; \u201cwill sound like . . . \u2018Yankee Doodle.\u2019\u201d&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dvo\u0159\u00e1k&nbsp;actually smiled &#8212; like a grizzled pirate; he only lacks a bandana across his forehead emblazoned with a skull and crossbones. A daunting man, not unfriendly, never frosty, but externally a tough kernel of a man.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cA more general question, please, Dr.&nbsp;Dvo\u0159\u00e1k.\u201d Krehbiel cleared his throat. \u201cYou have hinted at a relationship between your symphony and Henry Wadsworth Longfellow\u2019s poem&nbsp;<em>The<\/em>&nbsp;<em>Song<\/em>&nbsp;<em>of<\/em>&nbsp;<em>Hiawatha<\/em>.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cThe story of Hiawatha\u2019s wooing is a favorite of mine. I read it first in Czech, later in English. Probably when I composed the slow movement this was somewhere in my mind.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Krehbiel scribbled in his notebook, then continued:<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cYou have titled your symphony \u2018From the New World.\u2019 All of my readers appreciate that Mrs. Thurber, when she engaged you to direct the National Conservatory of Music, entertained the hope that you could inspire American composers to cultivate their own native school based upon native sounds and impressions. Has this not been your method in composing your symphony?\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cA composer must listen to his surroundings. This is only natural.\u201d&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cHis surroundings, yes. Do you not agree that music in its highest form springs from the surrounding dialects or idioms, dialects or idioms that are national or racial in origin and structure?\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;\u201cEvery composer has a people.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;\u201cAs you have been true to your own Czech people and have bequeathed a new musical voice to that people with your&nbsp;<em>Slavonic<\/em>&nbsp;Dances and kindred works inspired by the peasantry, its customs and folk dances. You were yourself raised among peasants,&nbsp;&nbsp;were you not?\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;&nbsp;\u201cMy father was a butcher and kept an inn. I played the violin there as a child. These were my musical beginnings and remain deep inside me. And I keep my faith in the poor. They work hard and seriously.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;&nbsp;&nbsp;\u201cIn America, we call such men as yourself \u2018self-made.\u2019 This is an American ideal.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;&nbsp;\u201cIs it your ideal, Herr Krehbiel? Are you yourself \u2018self-made\u2019?\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;&nbsp;&nbsp;\u201cI would in general say so. I have no degrees. I have instructed myself in many fields.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;&nbsp;The conversation halted. Krehbiel began again.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;\u201cMay I offer my own opinion? What I observe is that you have discovered in our \u2018Negro melodies\u2019 the music that is most vital in our own folk-song. It originated with the Negro slaves of the south partly because those slaves lived in the period of emotional, intellectual, and social development which produces folk-song, partly because they lived a life that prompted utterance in song, and partly because as a race the Negroes are musical by nature. Being musical and living a life that had in it romantic elements of passing pleasure as well as of great hardship and suffering, they gave expression to those elements in songs which reflected their roots in Africa as modified in the American environment.&nbsp;&nbsp;The result is a folk-music that touches the American heart. That it is also touches your heart is manifest in your new symphony &#8212; and especially, I would say, in the slow movement.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;\u201cYour Negroes, and also your Indians, have suffered. Suffering yields self-expression.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;\u201cAnd may I venture a further surmise? New directions in musical development today have come from the Slavonic school &#8212; from yourself and from Smetana, and from Tchaikovsky. The new Slavonic school is fearless in the face of convention. Could one say that it preserves the barbaric virtue of truthfulness?\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dvo\u0159\u00e1k\u2019s black eyes darted to the side. \u201cYou must excuse me,\u201d he said, rising from his seat and lifting a watch from his pocket. \u201cI have another appointment this afternoon.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cBut of course.\u201d Krehbiel hastily gathered his things and repacked his briefcase. He glanced at the thrushes on his way out. The meeting, if very brief,&nbsp;<em>sans<\/em>&nbsp;amenities, had been highly productive. He would incorporate the musical examples alongside&nbsp;Dvo\u0159\u00e1k\u2019s commentary, preparing the reception that&nbsp;Dvo\u0159\u00e1k\u2019s symphony deserved. He swelled with importance.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>The critic Henry Krehbiel notoriously called Gustav Mahler\u2019s New York career a failure, undone by \u201cfoolishness and naivete.\u201d Most accounts of Mahler\u2019s life take issue with this opinion, or refuse to take it seriously. But Krehbiel knew what he was talking about.&nbsp; At the Colorado Mahlerfest last May, Krehbiel and his Mahler verdict were debated. [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"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":"","_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[1],"tags":[],"class_list":["post-4027","post","type-post","status-publish","format-standard","category-uncategorized","entry","has-post-thumbnail"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/p2QLHN-12X","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/posts\/4027","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/comments?post=4027"}],"version-history":[{"count":7,"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/posts\/4027\/revisions"}],"predecessor-version":[{"id":4036,"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/posts\/4027\/revisions\/4036"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/media?parent=4027"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/categories?post=4027"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/tags?post=4027"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}