{"id":708,"date":"2020-06-18T11:12:11","date_gmt":"2020-06-18T10:12:11","guid":{"rendered":"https:\/\/www.dvorak-society.org\/New\/?page_id=708"},"modified":"2020-06-18T12:01:02","modified_gmt":"2020-06-18T11:01:02","slug":"journal-czech-music-volume-21-abstract","status":"publish","type":"page","link":"https:\/\/www.dvorak-society.org\/?page_id=708","title":{"rendered":"Journal \u201cCzech Music\u201d Volume 21 (Abstract)"},"content":{"rendered":"\n<h4 class=\"wp-block-heading\"><a id=\"top_of_page\"><\/a>Contents of this page<\/h4>\n\n\n\n<ul class=\"wp-block-list\"><li>The Dvo\u0159\u00e1k Society: The Early Years\u00a0<a href=\"#dvorak_society_early_years\">\u25ba<\/a><\/li><li>Battling with the Missing Three Bars in the Largo of Martin\u016f\u2019s\u00a0<em>Symphony No. 4 (1945)<\/em>\u00a0<a href=\"#largo\">\u25ba\u00a0<\/a><\/li><li>The Moravian Contribution to Czech Music\u00a0<a href=\"#moravian_contribution\">\u25ba\u00a0<\/a><\/li><li>On the Overgrown Trail of Jan\u00e1\u010dek\u2019s Lyricist\u00a0<a href=\"#path_lyricist\">\u25ba\u00a0<\/a><\/li><li>Dvo\u0159\u00e1k in Melbourne 1885\u2009\u2013\u20091888\u00a0<a href=\"#dvorak_melbourne\">\u25ba\u00a0<\/a><\/li><li>Czech and Moravian Court and Household Orchestras from the 17th to 19th Centuries\u00a0<a href=\"#court_orchestras\">\u25ba<\/a><\/li><li>V\u00edt\u011bzslava Kapr\u00e1lov\u00e1: A Remarkable Voice in Twentieth-century Czech Music\u00a0<a href=\"#kapralova_voice\">\u25ba\u00a0<\/a><\/li><li>A \u201cFantastic learning Experience\u201d in Composing for String Orchestra: Martin\u016f\u2019s Interventions in V\u00edt\u011bzslava Kapr\u00e1lov\u00e1\u2019s\u00a0<em>Partita<\/em>\u00a0<a href=\"#kapralova_martinu_partita\">\u25ba\u00a0<\/a><\/li><li>V\u00edt\u011bzslava Kapr\u00e1lov\u00e1 and Jan Nov\u00e1k: Two of Martin\u016f\u2019s Moravian Pupils\u00a0<a href=\"#kapralova_novak_martinu_pupils\">\u25ba<\/a><\/li><li>The Dramatic Style of Smetana\u2019s Operas\u00a0<a href=\"#smetana_operas_style\">\u25ba\u00a0<\/a><\/li><li>Karel Husa: an Eightieth Birthday Tribute\u00a0<a href=\"#karel_husa\">\u25ba\u00a0<\/a><\/li><li>A Composer Discovered: Choral Music of Anton\u00edn Tu\u010dapsk\u00fd\u00a0<a href=\"#tucapsky_choral\">\u25ba<\/a><\/li><li>The Forgotten Generation (Martin\u016f, Karel, Eben etc.)\u00a0<a href=\"#forgotten_generation\">\u25ba\u00a0<\/a><\/li><\/ul>\n\n\n\n<p class=\"wp-block-paragraph\"><a name=\"dvorak_society_early_years\"><\/a>The Dvo\u0159\u00e1k Society: The Early Years<br><small><em>by Mark Todd<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, 21 (1999-2000), pp. 37-78]<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;The Dvo\u0159\u00e1k Society of Great Britain was inaugurated in March 1974. A Library, Journal and Record Service were established, and a complete catalogue of Dvo\u0159\u00e1k\u2019s works was prepared. Recitals of Czech music and visits to Czechoslovakia were promoted. During the 1970s and early 1980s many problems including financial, surfaced. The founder of the Society, Ian Trufitt, was tragically killed in a road accident in 1976. Ian Watt, Editor of the Journal, became Chairman, followed by Gordon Dunkerley. The Journal expanded as did the Society\u2019s lecture programme. Another personnel crisis brewed in the late 1980s. A new Committee was elected in 1987 under the Chairmanship of Graham Melville-Mason. Since then the Society has gone from strength to strength, with over 700 enrolled members by the turn of the millennium, contributing increasingly to Czech musical charities.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u25b2\u00a0\u00a0<a href=\"#top_of_page\">top of page<\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p class=\"wp-block-paragraph\"><a name=\"largo\"><\/a>Battling with the Missing Three Bars in the Largo of Martin\u016f\u2019s&nbsp;<em>Symphony No. 4 (1945)<\/em><br><small><em>by Sharon Choa<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, 21 (1999-2000), pp. 79-106]<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Even though Martin\u016f was no pianist, the instrument appears in many of his works in new sound combinations, as in five of his six symphonies. Unlike other composers, however, his use of the piano is uniquely integrated into the orchestral texture, even though he faced difficulties in deploying piano sonorities, as illustrated in the&nbsp;<em>Largo<\/em>&nbsp;of the&nbsp;<em>4th Symphony<\/em>. Here there is debate over why the composer cut three bars of piano music from the score of this movement: cuts which seem to distort the thematic, tonal and expressive logic. It may be because they appeared as a piano solo, which may have led some to perceive as inappropriate in a symphony.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u25b2\u00a0\u00a0<a href=\"#top_of_page\">top of page<\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p class=\"wp-block-paragraph\"><a name=\"moravian_contribution\"><\/a>The Moravian Contribution to Czech Music<br><small><em>by Anton\u00edn Tu\u010dapsk\u00fd<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, 21 (1999-2000), pp. 107-119]<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The most important Moravian influence on Czech Music relates to its distinctive folk songs and dances, very different from those of Bohemia, Moravia forming a major cultural boundary between western and eastern Europe. There are also pronounced differences within Moravia, reflective of geographical and cultural distinctions within the region. To the west, folk art has been strongly Czech influenced, but it is that of the east that has particularly affected Czech composers. Apart from love, there are no common themes as between Bohemian and Moravian songs. While the former may celebrate beer, the latter celebrate wine. There are also major differences in balance of words and tunes, in rhythm, phrasing and form, harmonic content, and modal tunes. The frequent use of the latter, so much part of Jan\u00e1\u010dek\u2019s music, is the main contribution of Moravia to Czech music.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u25b2\u00a0\u00a0<a href=\"#top_of_page\">top of page<\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p class=\"wp-block-paragraph\"><a name=\"path_lyricist\"><\/a>On the Overgrown Trail of Jan\u00e1\u010dek\u2019s Lyricist<br><small><em>by Karel Janovick\u00fd<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, 21 (1999-2000), pp. 120-122]<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">That a discredited railway official, Ozef Kalda, was the author of the verses set by Jan\u00e1\u010dek in his&nbsp;<em>The Diary of one who Disappeared<\/em>, was revealed as late as 1977. Kalda hid his authorship of&nbsp;<em>The Diary<\/em>&nbsp;behind the pretence that it was the work of an unnamed \u2018decent and sedulous youth\u2019. The letter in which this claim was made was discovered by an amateur historian and biologist who passed it on to a literary expert who found diagnostic expressions and turns of phrase that Kalda regularly used in his writings. The key to the success of Jan\u00e1\u010dek\u2019s setting lay in his use of speech melodies, responsible also for the enduring appeal of in his operas.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u25b2\u00a0\u00a0<a href=\"#top_of_page\">top of page<\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p class=\"wp-block-paragraph\"><a name=\"dvorak_melbourne\"><\/a>Dvo\u0159\u00e1k in Melbourne 1885\u2009\u2013\u20091888<br><small><em>by Janice Stockigt<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, 21 (1999-2000), pp. 123-126]<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The enthusiasm of the British musical press for Dvo\u0159\u00e1k\u2019s music, as expressed in the Musical Times, whetted the appetite of Melbourne readers of that journal. The works played there between 1885 and 1888 were precisely those which had created such a favourable impression in Britain: the&nbsp;<em>Stabat Mater<\/em>; the&nbsp;<em>6th Symphony<\/em>;&nbsp;<em>The Spectre\u2019s Bride<\/em>; and the first series of&nbsp;<em>Slavonic Dances<\/em>. The response in Melbourne was similarly approving, one critic pronouncing Dvo\u0159\u00e1k \u201cthe greatest living composer\u201d. Enthusiasm came to a standstill by the end of the decade, and no performances of Dvo\u0159\u00e1k\u2019s music are recorded in Melbourne in the 1890s. The reason may have been changes in musical taste, financial constraints, or the inadequacies of earlier performances.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u25b2\u00a0\u00a0<a href=\"#top_of_page\">top of page<\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p class=\"wp-block-paragraph\"><a name=\"court_orchestras\"><\/a>Czech and Moravian Court and Household Orchestras from the 17th to 19th Centuries<br><small><em>by Zde\u0148ka Pilkov\u00e1<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, 21 (1999-2000), pp. 127-132]<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Under the Austro-Hungarian Empire, the dispersal of aristocratic residences led to many noblemen and church dignitaries of Bohemia and Moravia establishing their own musical ensembles to play at religious or social events. The expense of these was reduced by hiring retainers who could fulfil dual roles of servants and musicians, as local musicians could generally be hired and rates of pay kept low. There were great differences in size and standards of performance. Ensembles became smaller in the late eighteenth century and the tradition of harmoniemusik was established. Some of these establishments collected and handed down musical materials of the greatest importance. One of the finest of the establishments musically was Krom\u011b\u0159\u00ed\u017e, where a library of 1,600 works in the orchestra\u2019s repertoire has survived.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u25b2\u00a0\u00a0<a href=\"#top_of_page\">top of page<\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p class=\"wp-block-paragraph\"><a name=\"kapralova_voice\"><\/a>V\u00edt\u011bzslava Kapr\u00e1lov\u00e1: A Remarkable Voice in Twentieth-century Czech Music<br><small><em>by Eugene Gates and Karla Hartl<\/em><br>Czech Music: Journal of the Dvo\u0159\u00e1k Society, 21 (1999-2000), pp. 133-154<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Entering Brno Conservatory at the age of fifteen, and later Prague, V\u00edt\u011bzslava Kapr\u00e1lov\u00e1 in 1937 moved on to Paris on a French government scholarship. Here she studied composition privately with Bohuslav Martin\u016f. Following the German occupation of Czechoslovakia, she decided to live in exile. Marrying Ji\u0159\u00ed Mucha in April 1940, she tragically died from tuberculosis in Montpellier two months later, aged 25. Her creative output consisted of 25 works with opus numbers, plus other compositions. The musical relationship Martin\u016f with was one of mutual collaboration but, being of an independent disposition, she increasingly developed her own voice as a composer. Their intimate but problematic relationship inspired a number of works of both. Her death cut short the work of a remarkable young composer.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u25b2\u00a0\u00a0<a href=\"#top_of_page\">top of page<\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p class=\"wp-block-paragraph\"><a name=\"kapralova_martinu_partita\"><\/a>A \u201cFantastic learning Experience\u201d in Composing for String Orchestra: Martin\u016f\u2019s Interventions in V\u00edt\u011bzslava Kapr\u00e1lov\u00e1\u2019s&nbsp;<em>Partita<\/em><br><small><em>by Ale\u0161 B\u0159ezina<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, 21 (1999-2000), pp. 155-174]<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Martin\u016f considered that there was a \u201cspecial technique\u201d in writing for string orchestra, and was unusually interventionist in influencing Kapr\u00e1lov\u00e1\u2019s&nbsp;<em>Partita for String Orchestra<\/em>. Kapr\u00e1lov\u00e1 wrote of him tormenting her \u201cquite terribly but it is a fantastic learning experience.\u201d His advice involved her changing her style from earlier German late-romanticism to a French form of neo-classicism, reflecting in turn the influence of Roussel on Martin\u016f\u2019s own music. In the&nbsp;<em>Partita<\/em>&nbsp;she used the piano as an orchestral instrument for the first time, as Martin\u016f already had done. In some cases excerpts composed by him were incorporated in Kapr\u00e1lov\u00e1\u2019s fair copy of the&nbsp;<em>Partita<\/em>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u25b2\u00a0\u00a0<a href=\"#top_of_page\">top of page<\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p class=\"wp-block-paragraph\"><a name=\"kapralova_novak_martinu_pupils\"><\/a>V\u00edt\u011bzslava Kapr\u00e1lov\u00e1 and Jan Nov\u00e1k: Two of Martin\u016f\u2019s Moravian Pupils<br><small><em>by Alena N\u011bmcov\u00e1<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, 21 (1999-2000), pp. 174-180]<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Martin\u016f\u2019s only Czech pupils, V\u00edt\u011bzslava Kapr\u00e1lov\u00e1 and Jan Nov\u00e1k, were Moravian. Kapr\u00e1lov\u00e1 had previously studied with V\u00edt\u011bzslav Nov\u00e1k in Prague, and had already shown her remarkable composing talent (in, for example, the&nbsp;<em>Military Sinfonietta<\/em>&nbsp;and song cycles). Martin\u016f identified weak points in Kapr\u00e1lov\u00e1\u2019s orchestration and intervened in a detailed way in numerous revisions of her&nbsp;<em>Partita<\/em>,&nbsp;<em>Op. 20<\/em>. Jan Nov\u00e1k studied with Martin\u016f at Tanglewood in 1947, bringing with him compositions reflecting his interest in Latin subjects. He returned home early in 1948 having been shocked by Martin\u016f into fundamental changes to his composing style. A new vocal style combined with the Latin declamation became the essence of his musical language. Fleeing Czechoslovakia in 1968 and settling in Germany, Nov\u00e1k\u2019s later works reveal some lessening of Martin\u016f\u2019s influence.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u25b2\u00a0\u00a0<a href=\"#top_of_page\">top of page<\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p class=\"wp-block-paragraph\"><a name=\"smetana_operas_style\"><\/a>The Dramatic Style of Smetana\u2019s Operas<br><small><em>by Jaroslav Jir\u00e1nek<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, 21 (1999-2000), pp. 181-194]<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Smetana is one of a number of nineteenth-century composers whose operas were potent forces in shaping an emotional and social awareness of emergent national identities after long periods of suppression of democratic aspirations. Stimulated by the operas of Gluck, Mozart and Wagner, Smetana forged his own style. He concentrated exclusively on Czech themes, sung in Czech. Only the unfinished&nbsp;<em>Viola<\/em>, based on Shakespeare, was an exception to this rule. The operas range from heroic historical subjects to the sparkling humour of those rooted in contemporary village life. In these he conveyed vivid images of the Czechs in every day life situations, and in his historical operas (and in&nbsp;<em>M\u00e1 Vlast<\/em>) a model of Czech statehood in the past, present and for the future.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u25b2\u00a0\u00a0<a href=\"#top_of_page\">top of page<\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p class=\"wp-block-paragraph\"><a name=\"karel_husa\"><\/a>Karel Husa: an Eightieth Birthday Tribute<br><small><em>by Jan Lede\u010d<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, 21 (1999-2000), pp. 195-214]<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">After a thorough grounding in turn at the Prague Conservatory, Husa studied in Paris from 1946-1951, but refused to return home after the Communist coup of 1948. In consequence his music was banned in Czechoslovakia for forty years. From Paris, he moved in 1954 to a post at Cornell University. His best known work,&nbsp;<em>Music for Prague 1968<\/em>, is a tribute to his home city and a protest against the Russian invasion of that year. Though much of his music is experimental, Husa has always been inspired by folk song from his homeland, and by fundamental human concerns. Following the \u2018velvet revolution\u2019 of 1989, Husa was able to return to the Czech Republic and his music was once again heard there. There are many recordings of his works, especially American, but his music has yet to establish itself with British audiences.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u25b2\u00a0\u00a0<a href=\"#top_of_page\">top of page<\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p class=\"wp-block-paragraph\"><a name=\"tucapsky_choral\"><\/a>A Composer Discovered: Choral Music of Anton\u00edn Tu\u010dapsk\u00fd<br><small><em>by Janet Lunt<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, 21 (1999-2000), pp. 214-224]<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Anton\u00edn Tu\u010dapsk\u00fd is one of a number of Czech composers who left their home country after 1968, settling in England in 1975. Well known for his work with the Moravian Teachers\u2019 Choir, and as a distinguished composer, he was appointed Professor of Composition at London\u2019s Trinity College of Music. Features of Czech national style regularly appear in his warmly romantic music. Tu\u010dapsk\u00fd has composed works in many genres, but it is his choral writing for which he is best known, among other things finding inspiration in English poetry. Dramatic potential and spiritual quality are priorities in Tu\u010dapsk\u00fd\u2019s works, with frequent choice of sacred texts, evident in one of his grandest works, the&nbsp;<em>Stabat Mater<\/em>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u25b2\u00a0\u00a0<a href=\"#top_of_page\">top of page<\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p class=\"wp-block-paragraph\"><a name=\"forgotten_generation\"><\/a>The Forgotten Generation<br><small><em>by Janet Lunt<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, 21 (1999-2000), pp. 224-248]<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The publicity given in recent decades to the so-called \u2018lost generation\u2019 of Terez\u00edn composers, Ullmann, Kr\u00e1sa, Haas and Klein, and a fellow victim of the holocaust, Schulhoff, has led to lack of attention to other composers who suffered under Nazism and later Communism. These included subsequently well-known figures such as, in particular, Martin\u016f, and Jewish or part-Jewish composers such as Karel, Luck\u00fd and Eben. Post-1948 Communist cultural ideology, under the reign of Minister of Education Zden\u011bk Nejedl\u00fd, viciously interfered with composers who did not comply with official dictates. Nejedl\u00fd\u2019s prejudices against Dvo\u0159\u00e1k, Jan\u00e1\u010dek and Martin\u016f extended to their pupils and those of the generation following. Composers were expected to show left-wing leanings. Post-1948 composers writing propaganda cantatas and other works, often in response to official commissions, were favoured, despite the dubious musical quality of much of their work.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u25b2\u00a0\u00a0<a href=\"#top_of_page\">top of page<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Contents of this page The Dvo\u0159\u00e1k Society: The Early Years\u00a0\u25ba Battling with the Missing Three Bars in the Largo of Martin\u016f\u2019s\u00a0Symphony No. 4 (1945)\u00a0\u25ba\u00a0 The Moravian Contribution to Czech Music\u00a0\u25ba\u00a0 On the Overgrown Trail of Jan\u00e1\u010dek\u2019s Lyricist\u00a0\u25ba\u00a0 Dvo\u0159\u00e1k in Melbourne 1885\u2009\u2013\u20091888\u00a0\u25ba\u00a0 Czech and Moravian Court and Household Orchestras from the 17th to 19th Centuries\u00a0\u25ba V\u00edt\u011bzslava &hellip; <a href=\"https:\/\/www.dvorak-society.org\/?page_id=708\" class=\"more-link\">Continue reading <span class=\"screen-reader-text\">Journal \u201cCzech Music\u201d Volume 21 (Abstract)<\/span> <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"jetpack_seo_schema_type":"","footnotes":""},"class_list":["post-708","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.dvorak-society.org\/index.php?rest_route=\/wp\/v2\/pages\/708","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.dvorak-society.org\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.dvorak-society.org\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.dvorak-society.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.dvorak-society.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=708"}],"version-history":[{"count":6,"href":"https:\/\/www.dvorak-society.org\/index.php?rest_route=\/wp\/v2\/pages\/708\/revisions"}],"predecessor-version":[{"id":715,"href":"https:\/\/www.dvorak-society.org\/index.php?rest_route=\/wp\/v2\/pages\/708\/revisions\/715"}],"wp:attachment":[{"href":"https:\/\/www.dvorak-society.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=708"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}