{"id":10617,"date":"2021-05-21T11:21:36","date_gmt":"2021-05-21T10:21:36","guid":{"rendered":"http:\/\/blogs.kent.ac.uk\/music-matters\/?p=10617"},"modified":"2021-05-21T11:21:36","modified_gmt":"2021-05-21T10:21:36","slug":"minervanminiatures-five-preludes-by-nannie-louise-wright","status":"publish","type":"post","link":"https:\/\/blogs.kent.ac.uk\/music-matters\/2021\/05\/21\/minervanminiatures-five-preludes-by-nannie-louise-wright\/","title":{"rendered":"#MinervanMiniatures: Five preludes by Nannie Louise Wright"},"content":{"rendered":"<p>Our sonic cabinet of curiosities exploring forgotten piano repertoire written by women,\u00a0<em>Minervan Miniatures,\u00a0<\/em>presents five preludes by American composer <strong>Nannie Louise Wright<\/strong> (1878\/9 &#8211; 1958), from her collection 12 Preludes Op.25.<\/p>\n<p>This selection ranges from Wagnerian grandeur to dazzling Saint-Saens-esque virtuosity that disappears in a flash, and a fascinating prelude &#8216;For The Left Hand Alone.&#8217; The entire set is a marvellous addition to the canon of prelude-writing, in the tradition including Chopin, Rachmaninov and Debussy, and surely deserves to be better known. We&#8217;ll be rectifying this as part of a planned recital series next year&#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\/MZsXOppr8zY?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<ul class=\"kent-social-links\"><li><a href='http:\/\/www.facebook.com\/sharer.php?u=https:\/\/blogs.kent.ac.uk\/music-matters\/2021\/05\/21\/minervanminiatures-five-preludes-by-nannie-louise-wright\/&amp;t=#MinervanMiniatures: Five preludes by Nannie Louise Wright' target='_blank'><i class='ksocial-facebook' title='Share via Facebook'><\/i><\/a><\/li><li><a href='http:\/\/twitter.com\/home?status=#MinervanMiniatures: Five preludes by Nannie Louise Wright%20https:\/\/blogs.kent.ac.uk\/music-matters\/2021\/05\/21\/minervanminiatures-five-preludes-by-nannie-louise-wright\/' 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\/21\/minervanminiatures-five-preludes-by-nannie-louise-wright\/' 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\/21\/minervanminiatures-five-preludes-by-nannie-louise-wright\/&amp;title=#MinervanMiniatures: Five preludes by Nannie Louise Wright' 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\/21\/minervanminiatures-five-preludes-by-nannie-louise-wright\/&amp;title=#MinervanMiniatures: Five preludes by Nannie Louise Wright' target='_blank'><i class='ksocial-email' title='Share via Email'><\/i><\/a><\/li><\/ul>","protected":false},"excerpt":{"rendered":"<p>Our sonic cabinet of curiosities exploring forgotten piano repertoire written by women,\u00a0Minervan Miniatures,\u00a0presents five preludes by American composer Nannie Louise Wright (1878\/9 &#8211; 1958), from her collection 12 Preludes Op.25. This selection ranges from Wagnerian grandeur to dazzling Saint-Saens-esque virtuosity that disappears in a flash, and a fascinating prelude &#8216;For The Left Hand Alone.&#8217; The &hellip; <a href=\"https:\/\/blogs.kent.ac.uk\/music-matters\/2021\/05\/21\/minervanminiatures-five-preludes-by-nannie-louise-wright\/\" class=\"more-link\">Continue reading <span class=\"screen-reader-text\">#MinervanMiniatures: Five preludes by Nannie Louise Wright<\/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":[248027,1110],"tags":[248027,248036,151800,248029,248030],"_links":{"self":[{"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/posts\/10617"}],"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=10617"}],"version-history":[{"count":1,"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/posts\/10617\/revisions"}],"predecessor-version":[{"id":10618,"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/posts\/10617\/revisions\/10618"}],"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=10617"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/categories?post=10617"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/tags?post=10617"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}