{"id":10584,"date":"2021-05-13T10:16:48","date_gmt":"2021-05-13T09:16:48","guid":{"rendered":"http:\/\/blogs.kent.ac.uk\/music-matters\/?p=10584"},"modified":"2021-05-13T10:18:52","modified_gmt":"2021-05-13T09:18:52","slug":"nostalgia-from-brazil-a-waltz-for-minervanminiatures","status":"publish","type":"post","link":"https:\/\/blogs.kent.ac.uk\/music-matters\/2021\/05\/13\/nostalgia-from-brazil-a-waltz-for-minervanminiatures\/","title":{"rendered":"Nostalgia from Brazil: a waltz for #MinervanMiniatures"},"content":{"rendered":"<p>Musical nostalgia from Brazil in today&#8217;s <em><strong>#MinervanMiniatures<\/strong><\/em> piece rediscovering forgotten piano repertoire written by women composers.<\/p>\n<p>Today, it&#8217;s &#8216;Souvenirs du Pass\u00e9<em>&#8216;\u00a0<\/em>by <strong>Emilia P Dormund<\/strong>, published around 1904; the piece appeared in O Malho, a satirical weekly publication in Rio de Janeiro between 1902 and 1954; until 1926, the magazine regularly published a piano composition as part of its content.<\/p>\n<p>Enjoy this lyrical, slightly melancholic waltz, a musical memory of the past&#8230;<\/p>\n<div class=\"kent-video-wrapper\"><span class='embed-youtube' style='text-align:center; display: block;'><iframe class='youtube-player' type='text\/html' width='474' height='297' src='https:\/\/www.youtube.com\/embed\/mtcKbqRUaEM?version=3&#038;rel=1&#038;fs=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;wmode=transparent' frameborder='0' allowfullscreen='true'><\/iframe><\/span><\/div>\n<p>&nbsp;<\/p>\n<p>Listen to more in the series&#8217; playlist <a href=\"https:\/\/youtube.com\/playlist?list=PL_WtmFSyEybPDsZafunugiA6wkFeoTOuC\"><strong>here<\/strong><\/a>.<\/p>\n<ul class=\"kent-social-links\"><li><a href='http:\/\/www.facebook.com\/sharer.php?u=https:\/\/blogs.kent.ac.uk\/music-matters\/2021\/05\/13\/nostalgia-from-brazil-a-waltz-for-minervanminiatures\/&amp;t=Nostalgia from Brazil: a waltz for #MinervanMiniatures' target='_blank'><i class='ksocial-facebook' title='Share via Facebook'><\/i><\/a><\/li><li><a href='http:\/\/twitter.com\/home?status=Nostalgia from Brazil: a waltz for #MinervanMiniatures%20https:\/\/blogs.kent.ac.uk\/music-matters\/2021\/05\/13\/nostalgia-from-brazil-a-waltz-for-minervanminiatures\/' target='_blank'><i class='ksocial-twitter' title='Share via Twitter'><\/i><\/a><\/li><li><a href='https:\/\/plus.google.com\/share?url=https:\/\/blogs.kent.ac.uk\/music-matters\/2021\/05\/13\/nostalgia-from-brazil-a-waltz-for-minervanminiatures\/' target='_blank'><i class='ksocial-google-plus' title='Share via Google Plus'><\/i><\/a><\/li><li><a href='http:\/\/linkedin.com\/shareArticle?mini=true&amp;url=https:\/\/blogs.kent.ac.uk\/music-matters\/2021\/05\/13\/nostalgia-from-brazil-a-waltz-for-minervanminiatures\/&amp;title=Nostalgia from Brazil: a waltz for #MinervanMiniatures' target='_blank'><i class='ksocial-linkedin' title='Share via Linked In'><\/i><\/a><\/li><li><a href='mailto:content=https:\/\/blogs.kent.ac.uk\/music-matters\/2021\/05\/13\/nostalgia-from-brazil-a-waltz-for-minervanminiatures\/&amp;title=Nostalgia from Brazil: a waltz for #MinervanMiniatures' target='_blank'><i class='ksocial-email' title='Share via Email'><\/i><\/a><\/li><\/ul>","protected":false},"excerpt":{"rendered":"<p>Musical nostalgia from Brazil in today&#8217;s #MinervanMiniatures piece rediscovering forgotten piano repertoire written by women composers. Today, it&#8217;s &#8216;Souvenirs du Pass\u00e9&#8216;\u00a0by Emilia P Dormund, published around 1904; the piece appeared in O Malho, a satirical weekly publication in Rio de Janeiro between 1902 and 1954; until 1926, the magazine regularly published a piano composition as &hellip; <a href=\"https:\/\/blogs.kent.ac.uk\/music-matters\/2021\/05\/13\/nostalgia-from-brazil-a-waltz-for-minervanminiatures\/\" class=\"more-link\">Continue reading <span class=\"screen-reader-text\">Nostalgia from Brazil: a waltz for #MinervanMiniatures<\/span> <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":620,"featured_media":10545,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[248027],"tags":[142,248027,172217,248029],"_links":{"self":[{"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/posts\/10584"}],"collection":[{"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/users\/620"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/comments?post=10584"}],"version-history":[{"count":3,"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/posts\/10584\/revisions"}],"predecessor-version":[{"id":10587,"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/posts\/10584\/revisions\/10587"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/media\/10545"}],"wp:attachment":[{"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/media?parent=10584"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/categories?post=10584"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/tags?post=10584"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}