{"id":1047,"date":"2016-03-13T18:41:28","date_gmt":"2016-03-13T18:41:28","guid":{"rendered":"http:\/\/www.cdchoice.co.uk\/?p=1047"},"modified":"2016-03-13T21:22:28","modified_gmt":"2016-03-13T21:22:28","slug":"tasmin-littles-beethoven-and-other-new-discs","status":"publish","type":"post","link":"http:\/\/www.cdchoice.co.uk\/?p=1047","title":{"rendered":"Tasmin Little’s Beethoven and other new discs"},"content":{"rendered":"

\"Beethoven\"<\/a>BEETHOVEN: COMPLETE VIOLIN SONATAS, <\/strong>Tasmin Little (Violin) \/ Martin Roscoe (Piano) CHANDOS (3)<\/strong> There have been several distinguished integral sets of the Beethoven violin sonatas over the years, but Tasmin Little\u2019s project is distinguished by an unforced authority which (combined with her innate musicality) have produced a very competitive issue. What’s more, the contribution by the pianist Martin Roscoe represents a genuine collaborative agenda on the part of the artists here; these are not violin sonatas with piano accompaniment but a perfectly balanced musical marriage in which the two partners operate on almost symbiotic level with immensely pleasing results, complementing her complete set of Schubert\u2019s violin sonatas with Piers Lane [CHAN 10850(2)]. In all, Beethoven wrote ten sonatas for piano and violin, and seems not to have entertained ideas for other works in this genre. All but one may be regarded as early works: only Op. 96, in G major, which was composed almost a decade after the last of the other nine, does not fall into this category. As a group, then, the violin sonatas do not offer a conspectus of Beethoven\u2019s stylistic development such as we find in the string quartets, piano sonatas, symphonies, and even cello sonatas. But each work is a masterpiece in its own right, original, full of vitality, idiomatic for both the pianist and violinist who are equal-ranking participants in the ensemble, and executed with consummate compositional skill.<\/p>\n

SCHUBERT ARR. MAHLER: DEATH AND THE MAIDEN; SHOSTAKOVICH ARR. BARSHAI: CHAMBER SYMPHONY IN C MINOR, LSO String Ensemble Roman Simovi\/LSO Live SACD LSO 0786 <\/strong>While long celebrated for its remarkable brass section, the London Symphony Orchestra is rightly proud of its world-class string players, so it should come as no surprise that this coupling of two transcriptions for string orchestra of string quartets should be so accomplished. But in terms of these pieces, times have changed: there is now such a wide choice of recordings of these transcriptions \u2013 once rarities in the recorded repertoire \u2013 that it’s possible to pick and choose. And it is in that panoply of choice that the reviewer is presented with something of a quandary. Mahler’s arrangement of Schubert’s Death and the Maiden has rarely been given such a muscular and emotional reading as it receives here, with the rich LSO string sound captured with fidelity in a forceful surround sound recording. But while the accompanying Shostakovich transcription is certainly estimable, there are now more dynamic readings available, such as that of Hradils on Praga Digitals SACD, which — while slower than the LSO set — finds more drama and impact in the music. Nevertheless, the new LSO Live disc is a tempting proposition if you\u2019re attracted to this particular coupling.<\/p>\n

BACH: VIOLIN CONCERTOS, Dunedin Consort, Cecilia Bernardini, John Butt\/LINN SACD CKD519 <\/strong>No-one could claim that Bach\u2019s imperishable violin concertos (in their various permutations) have enjoyed generous representation on disc, but this is a notably competitive issue, with the kind of bracing approach to authenticity that is now (uncontroversially) the norm. What would a violinist of David Oistrakh\u2019s generation make of this? They would no doubt relish the impeccable playing, laced with appropriate gusto and finessed by John Butt\u2019s customary fastidious attention to detail. A winner.<\/p>\n

DVORAK: OVERTURES, <\/strong>Prague Philharmonia,<\/strong> Jakub Hr\u016f\u0161a<\/strong>\/PENTATONE SACD PTC 5186 532 <\/strong>Those collecting the Dvorak overtures in the SACD medium have been obliged to adopt a piecemeal approach in recent years, sometimes buying not particularly distinguished versions of one of the Dvorak symphonies in order to obtain a surround sound recording of one of the overtures (it has to be admitted that the SACD medium has this acquisitive effect on its consumers); but now (courtesy of PENTATONE), we’re presented with a particular coupling which is unique to the medium, and even if there are perhaps more vibrant performances of some of the pieces here, this makes the disc rather cherishable \u2013 particularly with the glowing sound according to the orchestra by the engineers. For a large part, thanks to the effort of Johannes Brahms, who introduced him to his publisher Simrock, Czech composer Anton\u00edn Dvo\u0159\u00e1k developed into a composer with an international reputation. Don\u2019t we all know his Slavonic Dances, his Symphonies or his chamber music, such as the Dumky Trio or the American string quartet? This album reveals some of the more hidden treasures of Dvo\u0159\u00e1k\u2019s repertoire, namely his overtures, of which he wrote no less than thirteen. In the booklet to the album they are described as follows: All five overtures on this recording are richly and vividly scored, employing palettes of instruments broader on average than those found in Dvo\u0159\u00e1k\u2019s mature symphonies and sometimes calling for special effects. For their orchestral colour but also their rich expression of poetic content, as well as their purely musical invention and structural mastery, these overtures constitute gems of special brilliance in the treasury of Dvo\u0159\u00e1k\u2019s compositional bequest. The PKF \u2013 Prague Philharmonia recorded this album in January 2015 at the Forum Karlin in Prague under the baton of their 2009-2015 Music Director and Chief Conductor Jakub Hr\u016f\u0161a.<\/p>\n

WEINBERG: ORCHESTRAL MUSIC, VOLUME TWO: <\/strong>SIX BALLET SCENES, OP. 113; SYMPHONY NO. 22, OP. 154, Siberian Symphony Orchestra, Dmitry Vasilyev\/TOCCATA<\/strong> TOCC0313 <\/strong> At the accelerating rate at which the music of Weinberg is being issued on disc, it’s only a matter of time before his formidable corpus of symphonies is fully available. This recording pairs a mature orchestral work, the Six Ballet Scenes, Op. 113 (1973), to which Weinberg gave the subtitle ‘Choreographic Symphony’, with the last symphony he composed, No. 22, leaving it in a piano score which has been orchestrated by Kirill Umansky. Performances are serviceable.<\/p>\n

MARTIN\u016e: SUITES NOS 1 AND 2 FROM \u0160PAL\u00cd\u010cEK, RHAPSODY-CONCERTO FOR VIOLA AND ORCHESTRA*, Mikhail Zemtsov (Viola)* \/ Estonian National Symphony Orchestra, Neeme J\u00e4rvi\/CHANDOS CHAN 10885 <\/strong>A personal note here. As someone who has been collecting Martinu\u2019s uneven but fascinating body of work over the years, there has been one holy grail, \u0160pal\u00ed\u010dek, previously only available in a Supraphon performance with scrawny mono sound. But now we can finally hear the piece with all the nuances of orchestration that were previously only hinted at. This album with the Estonian National Symphony Orchestra and its artistic director, Neeme J\u00e4rvi, features two mature works by Martin\u016f, recorded in the splendid acoustic of the Estonia Concert Hall in Tallinn. One of the most wide-ranging composers of music for the stage, Martin\u016f was also enthusiastic about the theatrical possibilities of including new media in his operas. \u0160pal\u00ed\u010dek in many ways belongs to this experimental tendency. Although it was published and billed at its first performance as a ballet, it might best be described as an opera-ballet, as alongside the many dances there are extensive roles for chorus as well as tenor, soprano, and bass soloists. Martin\u016f described the work on his manuscript as deriving from folk games, customs, and fairytales. The lyrical Rhapsody-Concerto was written in 1952, at a time when Martin\u016f was fighting homesickness and depression, worsened by the political situation in his native Czechoslovakia. The work is a marked move toward a more romantic sound world. The soloist here is Mikhail Zemtsov, principal violist of the Reside ntie Orchestra The Hague since 2001 and a prize winner at the first International Viola Competition (Vienna) and the Elisa Meyer String Competition (Hamburg). The exploration by J\u00e4rvi and the ENSO of hidden gems from the late nineteenth and early twentieth centuries has proved highly successful, their recent recording of works by Sucho\u0148 (CHAN 10849) awarded the Choc de Classica<\/p>\n

SHOSTAKOVICH, ARR. BARSHAI: <\/strong>CHAMBER SYMPHONIES OP. 73A & 83A AND EAST EUROPEAN FOLK TUNES, The re:orchestra, Roberto Beltr\u00e1n-Zavala BIS 2227 <\/strong>There was a time when recordings of the Barshai transcriptions for string orchestra of the Shostakovich quartets were few and far between, but lately, they are finding their way onto disc in bountiful profusion, as this latest disc demonstrates (and see above). If the present set is not quite the most persuasive available of these pieces, it remains highly competitive with string playing of considerable distinction. The two \u2018Chamber Symphonies\u2019 recorded here are in fact Shostakovich\u2019s Third and Fourth String Quartets, Opp. 73 and 83, and were composed in 1946 and 1949 respectively, during the aftermath of World War II and the onset of Stalin\u2019s terror. The disc is part of a project called \u2018Essential Music\u2019 initiated by the re:orchestra, a young and vibrant ensemble based in Rotterdam. Together with artistic director, the Mexican-Dutch conductor Roberto Beltr\u00e1n-Zavala, the ensemble regularly undertakes multidisciplinary projects. Less successfully on the present disc Vasile Nedea has arranged a Russian klezmer dance, a group of folk melodies from Transylvania and Muntenia, and two Romanian dances: Turceasca <\/em>and Hora de la Goicea<\/em>. (Also note also a commendable rival set: SHOSTAKOVICH: CHAMBER SYMPHONIES IN C MAJOR, OP. 49A \u2018EINE KLEINE SYMPHONIE\u2019 IN C MINOR, OP. 110A IN D MAJOR, OP. 83A ARRANGED BY RUDOLF BARSHAI, Kiev Soloists, Dmitry Yablonsky, Naxos 8.573466)<\/p>\n

VAUGHAN WILLIAMS: FAIR CHILD OF BEAUTY, <\/strong>THE BRIDAL DAY; EPITHALAMION, John Hopkins, Philip Smith, Joyful Company of Singers, Britten Sinfonia, Alan Tongue, ALBION <\/strong>ALBCD025\/026 <\/strong>As a listener who is content to have almost every note that Vaughan Williams wrote on my shelves (some juvenilia of the composer\u2019s apart), I was certainly tempted by this latest issue from Albion Records, specialists in more arcane RVW. The lesser-known pieces by the composer, it has to be said, are hardly essential fare for any but hard-core Vaughan Williams enthusiasts, but the more adventurous should certainly give them a listen \u2013 provided, that is, they can accommodate the rather pedestrian spoken part included here, which very quickly outstays its welcome. The programme of works by Ralph Vaughan Williams comprises the Fair Child of Beauty<\/em>, The Bridal Day<\/em>, and Epithalamion<\/em>. These performances are given by John Hopkins (speaker), baritone Philip Smith, the Joyful Company of Singers, the Britten Sinfonia, under the direction of Alan Tongue.<\/p>\n

RESPIGHI: ANTICHE DANZE ED ARIE, SUITES 1-3; SUITE \u2018GLI UCCELLI\u2019, <\/strong>Muenchner Rundfunkorchester, Henry Raudales CPO <\/strong>777233-2\u00a0 <\/strong>Approaches to these pieces have varied over the years, but this new set, which combines the full orchestration Respighi accorded the pieces with a more crisply articulated period approach than the pieces customarily receive. This makes for a very tempting disc Ottorino Respighi\u2019s Antiche danze ed arie<\/em>, free arrangements of arias and dances from the sixteenth and seventeenth centuries, enables listeners to rediscover forgotten rhythms and tones. These works are complemented by his Gli Uccelli <\/em>(\u2018The Birds\u2019) suite.<\/p>\n

NIELSEN; CHORAL WORKS, <\/strong>Danish National Vocal Ensemble, Danish National Concert Choir, Danish National Girls\u2019 Choir, Danish National Junior Choir, Danish National Children\u2019s Choir, Michael Sch\u00f8nwandt, Phillip Faber, Susanne Wendt DA CAPO <\/strong>8226112 <\/strong>The slightly monochromatic sound world provided by these pieces renders it more suitable for the Nielsen enthusiast than the general listener, but it’s hard to imagine that pieces given more persuasive advocacy. Carl Nielsen\u2019s prolific output of around 300 songs come in many forms. In this collection we hear 25 choral versions of the most popular Nielsen songs, such as Den danske sang er en ung<\/em>, blond pige <\/em>as well as more rarely heard or unknown choral works.<\/p>\n

FRANCIS CHAGRIN: SYMPHONIES NOS. 1 AND 2, <\/strong>BBC Symphony Orchestra, Martyn Brabbins,\/Naxos <\/strong>8.571371 <\/strong>Naxos continues its enterprising excavation of neglected composers with this intriguing new disc. If Chagrin does not turn out to be a hidden treasure, there are still rewards here. Francis Chagrin described himself as \u2018Romanian by birth, British by nationality and cosmopolitan by inclination\u2019. A student of Paul Dukas and Nadia Boulanger, Chagrin wrote prolifically for films but composed for most genres. The two symphonies are among his most important orchestral works. Both are dramatic, even passionate\u2014not least in the beautiful slow movements\u2014and full of contrasts, both within and between movements. Undeservedly neglected, they reveal Chagrin\u2019s mastery of form and colour.<\/p>\n

LEO WEINER: CSONGOR AND T\u00dcNDE, OP. 10 (1959 VERSION)*, BALLAD FOR CLARINET AND ORCHESTRA, OP. 28**(VERSION FOR VIOLA AND ORCHESTRA), <\/strong>M\u00e1t\u00e9 Sz\u0171cs, Viola**, Jubilate Girls Choir* \u2022 Ferenc Sapszon Jr., Chorus-master*, Budapest Symphony Orchestra M\u00c1V, Val\u00e9ria Cs\u00e1nyi NAXOS <\/strong>If you have a taste for colourful orchestral there in a vaguely Bartok\/Kodaly idiom, look no further. Leo Weiner is not the equal of his more famous countryman, but has much to offer. For over half a century at the Liszt Academy in Budapest, Leo Weiner taught successive generations of Hungary\u2019s leading musicians, and won his country\u2019s highest awards. As a composer his career was comet-like in its early brilliance and his music marked by an imaginative use of colour, masterful instrumentation and lyrical emotion. He regarded Csongor and T\u00fcnde <\/em>as his magnum opus <\/em>and its incidental music was later to take independent form as a ballet, heard here in its final 1959 version. The impressionistic Ballad, Op. 28 <\/em>for viola and orchestra derives from an earlier work for clarinet and piano.<\/p>\n

BRUCKNER: QUINTET & QUARTET, FITZWILLIAM STRING QUARTET, Linn CKD402\u00a0<\/strong> Bruckner enthusiasts will be pleased to investigate this recording of his chamber music, particularly given that a new approach is taken to the music. This is the first recording to use gut strings (a special set from Dan Larsen in Minnesota was obtained specially for this recording) and original instruments at the correct pitch for the time. Having first tackled the Bruckner Quintet nearly forty years ago , the Fitzwilliam’s starting point was achieving the famous \u2018Bruckner Sound’ as well as considering tempo, bow strokes, use of vibrato and portamento in the performance. With many great moments (such as the Adagio<\/em>) the Quintet is guaranteed an exalted place in the hierarchy of chamber masterworks.<\/p>\n

GRANADOS: ORCHESTRAL WORKS #1, Barcelona Symphony Orchestra, Pablo <\/strong>Gonz\u00e1lez<\/strong>\/Naxos 8.573263<\/strong> Many classical listeners will be familiar with Granados\u2019 piano and guitar music, but it transpires that there is a wealth of orchestral music to be rediscovered \u2013 of which this disc is the very tempting first instalment. Although he is best known as the composer of some of the greatest masterpieces of Spanish piano music, the composer also wrote a much less well-known sequence of orchestral music. The cinematic Marcha de los vencidos <\/em>evokes the painful trudging of \u2018the defeated\u2019 in an unspecified battle, while the incidental music for the play Torrijos <\/em>demonstrates Granados\u2019s talent for lyrical writing and his love of the stage. These works are performed by the Barcelona Symphony Orchestra under Pablo Gonz\u00e1lez he internationally renowned Wihan Quartet continue with their exploration of Czech repertoire for string quartet, released through their arrangement with Nimbus Alliance Records.<\/p>\n

ERLAND VON KOCH: SYMPHONY NO. 3, OP. 38<\/strong>; SINFONIA SERIA, OP. 51; IMPULSI; NORDISKT CAPRICCIO, <\/strong>Swedish Radio Symphony Orchestra, Per Hammarstr\u00f6m<\/strong>\/BIS2169 This is a particular find. Erland Von Koch was a composer with a very individual grasp of orchestral colour and an unusually fragmentary (yet dynamic) approach to symphonic form that looks forwards rather than backwards. One of von Koch\u2019s orchestral works that has maintained a tenuous hold on the repertoire is Nordiskt capriccio<\/em>, which was inspired by a folk tune from Dalecarlia, and which forms the festive finale on the present disc. The compositions which precede it are less well known. They include Impulsi <\/em>(the first part of a triptych later completed with the works Echi <\/em>and Ritmi<\/em>) whilst the two symphonies 3 and 4 appear for the first time on disc. In Symphony No. 3, influences from Bart\u00f3k and Hindemith can be detected; composed in 1948, it is a work which in its thematic material contrasts defiance with lyricism and, finally, a feeling of release. Sinfonia seria<\/em>, von Koch\u2019s fourth work in the genre, followed a few years later, undergoing a final revision in 1962. As indicated by the title, the underlying mood of the work is grave and bittersweet.<\/p>\n

DVO\u0158\u00c1K: STRING QUARTET NO. 13 IN G MAJOR, B. 192 (OP.106); SUK: MEDITATION ON THE OLD CZECH CHORALE \u201cST. WENCESLAS\u201d OP. 35; JAN\u00c1\u010cEK: STRING QUARTET NO. 1, \u201cKREUTZER SONATA\u201d, Wihan Quartet<\/strong> \/ Nimbus Alliance NI 6322NI6322<\/strong> Dvo\u0159\u00e1k\u2019s chamber music is well served on disc, as is the first Jan\u00e1\u010dek quartet, but this is nevertheless a persuasively played coupling with a lesser-known piece by Suk as icing on the cake. Dvo\u0159\u00e1k composed his opus 106 quartet in 1895 on his return to Prague after a three-year tenure as director of the National Conservatory in New York \u2013 this was a work that he completed prior to the final revision of his Op.34\/Op.105 quartet. All are given readings here of clarity and colour, though there are more incisive performances of Jan\u00e1\u010dek\u2019s Kreutzer Quartet.<\/p>\n

ATTERBERG: ORCHESTRAL WORKS, VOL. 4:<\/strong> SYMPHONY NO. 3, OP.10 V\u00c4STKUSTBILDER \/ THREE NOCTURNES, OP. 35BIS \/ VITTORIOSO, OP. 58 Gothenburg Symphony Orchestra \/ Neeme J\u00e4rvi\/ CHAN 10894 <\/strong> Those collecting the new Atterberg sequence from Chandos will be purchasing this (and so they should \u2013 it\u2019s splendid), but one nagging reservation must be expressed: earlier issues in this sequence had gloriously glowing surround sound of the kind that Chandos specialises in, so why has the company opted in this instance for two-channel stereo sound? It seems a very curious decision. The warm and tuneful music of Atterberg \u2013 one of Sweden\u2019s leading composers in the twentieth century \u2013 meets the idiomatic spirit and commitment of the Gothenburg Symphony Orchestra conducted by Neeme J\u00e4rvi, for volume four in this series. The third of his nine symphonies, featured here, is a set of three \u2018West Coast Pictures\u2019. These contrasted movements (\u2018Summer Haze\u2019, \u2018Storm\u2019, and \u2018Summer Night\u2019) were inspired by the atmosphere and landscape of the archipelago on the Swedish west coast and written between 1914 and 1916. It achieved great popularity abroad and was in Germany even considered as among the finest symphonic works written so far that century. The Three Nocturnes are orchestral movements which Atterberg extracted from Fanal (The Beacon), his highly praised third opera, which received thirty performances between its premiere in 1934 and 1957 and is nowadays his most appreciated stage work. Vittorioso was originally composed as the fourth movement of the Seventh Symphony (Sinfonia romantica) and, like the Three Nocturnes, shares its themes with the opera Fanal; the coupling gives a taste of Volume 5, due for release next year.<\/p>\n

ENGLISH HARPSICHORD WORKS, MMC112\u00a0 Henry Purcell: Suite 5 in Henry Purcell: Suite 5 in C; Ground in C minor; William Byrd: The Carman\u2019s Whistle; Henry Purcell: Prelude in A minor; John Blow: Suite in A minor; William Byrd: Hughe Ashton\u2019s Grownde; Henry Purcell: Suite 3 in G; Chaconne in G minor; William Byrd: The Mayden\u2019s Songe; William Croft: Suite 10 in E minor; Henry Purcell: A New Ground; William Byrd: Will Yow Walke the Woodes Soe Wylde; Henry Purcell: Suite 6 in D; John Blow: Ground in D minor; William Byrd: All in a Garden Greene, David Pollock, harpsichord\/Music & Media <\/strong>Although this is music for the cognoscenti rather than the general listener, those prepared to accommodate themselves to the more restrictive aural palate here will find many rewards. Since \u201cParthenia<\/em>\u201d (1612\/13), \u2018the first musicke that ever was printed for the virginalls\u2019, as its own title-page declares, a devotee had ready access to high-quality English harpsichord music. A steady stream of publications followed as the century progressed. At first the trend was to issue books containing music by various composers. Later, volumes dedicated to single composers appeared of which the earliest were the Choice Collection[s] by Purcell (1696) and Blow (1698). Aside from miscellaneous pieces, often arrangements of \u2018ayres\u2019 and \u2018theatre tunes\u2019, the Suite was the principal form, with its standard sequence of alman, coranto and saraband, often introduced by a prelude. Pollock\u2019s aim with this CD was to offer a personal anthology of English harpsichord music<\/p>\n

RUSSIAN DANCES: TCHAIKOVSKY SUITE FROM SWAN LAKE\/GLAZUNOV TWO CONCERT WALTZES\/SHOSTAKOVICH THE GOLDEN AGE\/STRAVINSKY CIRCUS POLKA, Orchestre de la Suisse Romande, Kazuki Yamada\/PENTATONE SACD PTC5186557 <\/strong>This is an enjoyable collection of bonbons delivered in the kind of splendid multichannel sound that listeners know is a PENTATONE speciality. Recorded at Victoria Hall in Geneva, Switzerland in July 2015, this album is another result of the fruitful relationship developed between the Orchestre de la Suisse Romande and PENTATONE over the last decade. At this occasion the OSR is conducted by Japanese conductor Kazuki Yamada, who was appointed Principal Guest Conductor of the orchestra in 2012 after a very successful European debut with them in 2010. Kazuki Yamada equally holds the position of Principal Conductor of the Japan Philharmonic Orchestra and Principal Conductor and Artistic Director Designate of the Orchestre Philharmonique de Monte Carlo and he regularly appears as guest conductor with many other leading orchestras, gleaning critical acclaim.<\/p>\n

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BEETHOVEN: COMPLETE VIOLIN SONATAS, Tasmin Little (Violin) \/ Martin Roscoe (Piano) CHANDOS (3) There have been several distinguished integral sets of the Beethoven violin sonatas over the years, but Tasmin Little\u2019s project is distinguished by an unforced authority which (combined … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3],"tags":[],"class_list":["post-1047","post","type-post","status-publish","format-standard","hentry","category-classical"],"_links":{"self":[{"href":"http:\/\/www.cdchoice.co.uk\/index.php?rest_route=\/wp\/v2\/posts\/1047","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.cdchoice.co.uk\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.cdchoice.co.uk\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.cdchoice.co.uk\/index.php?rest_route=\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"http:\/\/www.cdchoice.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1047"}],"version-history":[{"count":0,"href":"http:\/\/www.cdchoice.co.uk\/index.php?rest_route=\/wp\/v2\/posts\/1047\/revisions"}],"wp:attachment":[{"href":"http:\/\/www.cdchoice.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1047"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.cdchoice.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1047"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.cdchoice.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1047"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}