{"id":1094,"date":"2021-03-25T14:56:56","date_gmt":"2021-03-25T13:56:56","guid":{"rendered":"https:\/\/flexensemble.com\/x-classics\/concert-programs\/"},"modified":"2023-03-11T16:33:46","modified_gmt":"2023-03-11T15:33:46","slug":"concert-programs","status":"publish","type":"page","link":"https:\/\/flexensemble.com\/en\/x-classics\/concert-programs\/","title":{"rendered":"Concert programs"},"content":{"rendered":"[vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” top_padding=”80″ bottom_padding=”80″ text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\n

Inside EROICA<\/h2>\n

Gordon Williamson<\/strong>
\n“Couverture” for piano quartet (2020)
\nLudwig van Beethoven<\/strong>
\nSymphony No. 3 in E-flat major (“Eroica”), op. 55
\n(arr. for piano quartet by Ferdinand Ries)
\nGordon Williamson<\/strong>
\n“Encore” for piano quartet (2020)<\/p>\n

Show More<\/a>
Beethoven’s immense output amazed not only Liszt and Wagner. Even today, his revolutionary compositional approach and influential musical
\napproach and influential musical impact is hard to deny.
\nThis extraordinary program offers different paths,
\nto hear Beethoven’s Eroica. It does justice to the unconventional
\ncomposer’s unconventional approach, honoring him and placing his music in a new
\na new contemporary context. Beginning with a
\nwork for the Flex Ensemble by Canadian composer Gordon Williamson (“The
\ncomposer Gordon Williamson (“Couverture”), which is based on the Eroica Symphony and inspired by Beethoven’s overtures, it is followed by the monumental
\nmonumental Eroica itself, arranged for piano quartet by
\nBeethoven’s good friend and pupil Ferdinand Ries as the centerpiece of the program.
\nof the program, and finally, to resume the contemporary arc
\nand to give a new outlook, once again a new composition by
\nnew composition by Gordon Williamson (“Encore”), a winking
\na tongue-in-cheek variation work based on the famous bass theme of the
\nbass theme of the final movement of the Eroica.<\/div><\/div>[\/vc_column_text][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_video link=”https:\/\/www.youtube.com\/watch?v=PCWKB8A4PS4″][\/vc_column_inner][\/vc_row_inner][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”]\n[divider line_type=”Full Width Line” line_thickness=”2″ divider_color=”default” custom_height=”2″]\n[\/vc_column_inner][\/vc_row_inner][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\n

Slavic sentiment<\/h2>\n

Josef Suk<\/strong>
\nPiano quartet in A minor, op. 1 (1891)
\nAlexandre Tansman<\/strong>
\nSuite Divertissement for piano quartet (1929)*
\nAntonin Dvorak<\/strong>
\nPiano Quartet No. 2 in E-flat major, op. 87<\/p>\n

*Alternative for Tansman:
\nMateusz Smoczynski<\/strong>
\nNew songs from Kurpien
\n(commissioned by Flex Ensemble, 2019)<\/p>\n

Show More<\/a>
Dvor\u00e1k’s 2nd Piano Quartet reveals the personal and creative
\nof the 48-year-old composer, who was in the prime of his life at this time.
\nof his life. Soon after he completed his quartet, the maestro
\nquartet, the maestro assumed the post of professor of composition at the
\nComposition at the Prague Conservatory. This decision was to prove
\nfateful, not so much for himself as for the 17-year-old Josef Sukowski.
\nbut rather for the 17-year-old Josef Suk, who was one of the most talented
\nstudents of Dvor\u00e1k’s chosen class. Suk wrote his
\nquartet under Dvor\u00e1k’s direction and gave it the symbolic opus number 1.
\nsymbolic opus number 1. The piece reflects his contemporary
\nself-stylization as a passionate, flaring youth,
\nyet its melodic power and delicacy match that of Dvor\u00e1k’s
\nwork. Rounding out this Slavic program is the “Suite
\nDivertissement” by the Polish composer Alexandre Tansman. <\/div><\/div>[\/vc_column_text][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_video link=”https:\/\/www.youtube.com\/watch?v=Z1ZwBoef7Cc”][\/vc_column_inner][\/vc_row_inner][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”]\n[divider line_type=”Full Width Line” line_thickness=”2″ divider_color=”default” custom_height=”2″]\n[\/vc_column_inner][\/vc_row_inner][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\n

BeJAZZled<\/h2>\n

Aaron Copland<\/strong>
\nPiano Quartet (1950)
\nKrzysztof Komeda\/Mateusz Smoczy\u0144ski<\/strong>
\nKomeda Recomposed
\n(commissioned by Flex Ensemble, 2021)
\nNikolai Kapustin<\/strong>
\nPiano Quintet op. 89 (1998)<\/p>\n

With Mateusz Smoczy\u0144ski – violin<\/strong><\/p>\n

Show More<\/a>
Sounds like jazz – but it’s all notated! This is the motto of the recently
\nRussian composer Nikolai Kapustin, who recently passed away, really
\nperfected. The slow movement of his piano quintet, composed in 1998 in a particularly
\nduring a particularly fruitful and creative phase of his career,
\nis one of Kapustin’s most beautiful creations, followed by what is probably the most
\nmost astonishing five minutes in chamber music literature – a jazz-rock classic that leaves the audience, but not necessarily the players, begging for an
\nfor an encore.
\nNext to it is Aaron Copland’s much too rarely played Piano Quartet
\nfrom 1950, which is influenced by jazz rhythms in the middle movement.
\nCopland, the “modernist,” is at his best here. He
\ndances with a kinetic movement to a kind of “ragged” time and thus
\nevokes the sharp pointillism of Stravinsky and Shostakovich.
\nShostakovich.
\nA special highlight is a jazz suite on standards by Polish film music composer and jazz pianist Krzysztof Komeda, selected and arranged by Smoczynski.<\/p>\n<\/div><\/div>[\/vc_column_text][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_video link=”https:\/\/www.youtube.com\/watch?v=s6VSNZNA1ok”][\/vc_column_inner][\/vc_row_inner][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”]\n[divider line_type=”Full Width Line” line_thickness=”2″ divider_color=”default” custom_height=”2″]\n[\/vc_column_inner][\/vc_row_inner][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\n

Out of Doors<\/h2>\n

Frank Bridge<\/strong>
\nPhantasy for piano quartet
\nB\u00e9la Bart\u00f3k<\/strong>
\nOut of Doors
\n(in an arrangement for piano quartet by Gordon Williamson for the Flex Ensemble 2022)
\nFranz Schubert<\/strong>
\nPiano Quintet (“Trout Quintet”) in A major, D 667<\/p>\n

With Felix von Werder – double bass<\/strong><\/p>\n

Show More<\/a>
Schubert’s Trout Quintet, with its evocative reference to nature, gives this concert a special atmosphere. It is joined by B\u00e9la Bart\u00f3k`s Out of Doors in a new arrangement for piano quartet by Gordon Williamson.<\/p>\n<\/div><\/div>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”]\n[divider line_type=”Full Width Line” line_thickness=”2″ divider_color=”default” custom_height=”2″]\n[\/vc_column_inner][\/vc_row_inner][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\n

En France<\/h2>\n

Maurice Ravel<\/strong>
\nMa m\u00e8re l’Oye (arr. for piano quartet by Shintaro Sakabe)
\n(commissioned by Flex Ensemble, 2018)
\nProject Chanson:<\/strong>
\nFrench chansons re-arranged for piano quartet by Gordon Williamson, G\u00e9rard Pesson, Johannes Sch\u00f6llhorn, Konstantinos Raptis and Sebastiaan Koolhoven.
\n(all commissioned by Flex Ensemble, 2018)
\nGabriel Faur\u00e9<\/strong>
\nPiano Quartet No. 2 in G minor, op. 45<\/p>\n

*Alternative:
\nG\u00e9rard Pesson<\/strong> – Mes B\u00e9atitudes
\nCamille Saint-Sa\u00ebns<\/strong> – Piano Quartet in B flat major, op. 41
\nMelanie Bonis<\/strong> – Piano Quartet in B-flat Du<\/p>\n

Show More<\/a>
Georges Brassens, Jacques Brel, \u00c9dith Piaf… These names pop up
\nwhen talking about modern French chanson. But from
\ncontemporary composers and arrangers look at this music?
\narrangers look at this music? We have asked composers and arrangers
\nof different careers and generations to present their version of a
\nof a French chanson of their choice (e.g., Josquin Deprez, Jaques
\nBrel or Stromae) without vocals for a piano quartet,
\nrewrite or interpret it.<\/p>\n

For our endeavor to expand the repertoire for piano quartet and to
\nto creatively exploit the possibilities, we have also engaged the
\nup-and-coming arranger and conductor Shintaro Sakabe
\nto rewrite Ravel’s “Ma m\u00e8re l’Oye” for piano quartet.
\nfor piano quartet. The French program is completed by the less frequently performed 2nd Piano Quartet by Gabriel Faur\u00e9.<\/div><\/div>.[\/vc_column_text][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\n

Press quote on the premiere in Hanover:<\/h3>\n[\/vc_column_text][vc_column_text]\n

“Aufhorchen lie\u00df auch die Bearbeitung von Ravels M\u00e4rchen-Suite: Shintaro Sakae hat sie f\u00fcr das Flex Ensemble angefertigt und aus dem Original, einem Klavierduo von mittlerer Schwierigkeitsstufe, ein vollwertiges Konzertst\u00fcck geformt, das an die Ausf\u00fchrenden die h\u00f6chsten Anforderungen stellt. Und das Flex Ensemble hat dieser durchaus ungew\u00f6hnlichen Einrichtung h\u00f6rbar viel Aufmerksamkeit geschenkt: Behutsam wurde jede Tongebung und jede Phrasierung abgewogen und geformt, und das Ergebnis der sicherlich m\u00fchevolle Arbeit war schlicht begeisternd.”<\/p><\/blockquote>\n

Neue Presse, 15.02.2020<\/p>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”]\n[divider line_type=”Full Width Line” line_thickness=”2″ divider_color=”default” custom_height=”2″]\n[\/vc_column_inner][\/vc_row_inner][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\n

Schumann and Brahms<\/h2>\n

Robert Schumann<\/strong>
\nPiano quartet in E flat major, op. 47
\nJohannes Brahms<\/strong>
\nPiano Quartet No. 2 in A major, op. 26<\/p>\n

Show More<\/a>
Ever since Robert Schumann had fallen in love with the young pianist, this thought had been
\nthis thought was stuck in his head. And of course it also influenced
\nhis music. After a short excursion into the world of the
\nRobert Schumann vowed to write only chamber music with piano in the future.
\nmusic with piano, so that Clara could always be present.
\ncould always be present. To this vow we also owe the wonderful
\nSchumann composed it in 1842, the year of his almost intoxicatingly creative chamber music.
\nThe Piano Quartet op. 26 by Johannes Brahms, sketched in the mid-fifties, was published in 1861.
\npublished in 1861, is the longest chamber music work by Brahms, lasting a good 50 minutes.
\nchamber music work by Brahms. The length results from an
\noverflow of compositional and melodic ideas. Throughout
\nrelationship to Clara Schumann shines through, most strongly in the melancholic
\nmost strongly in the melancholy, painful tone of the ‘Adagio’. After all
\nthere is a dance-like and lively final movement in Hungarian style.
\ndance-like, lively conclusion and, through the coda of this movement, an
\nconclusion. With rhythmic, harmonic and dynamic
\nand dynamic increases, polished down to the smallest detail, the piece is able to
\nop. 25 in beauty and balance of form.
\nin beauty and balance of form.<\/div><\/div>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”]\n[divider line_type=”Full Width Line” line_thickness=”2″ divider_color=”default” custom_height=”2″]\n[\/vc_column_inner][\/vc_row_inner][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\n

Child prodigy<\/h2>\n

Felix Mendelssohn-Bartholdy<\/strong>
\nPiano Quartet No. 2 in F minor, op. 2
\nGustav Mahler<\/strong>
\nPiano Quartet in A minor
\nRichard Strauss<\/strong>
\nPiano Quartet in C minor, op. 13[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][fancy_box box_style=”default” icon_family=”none” image_url=”98″ color=”accent-color” border_radius=”default” image_loading=”default” link_url=”\/en\/x-classics\/”]\n

Back to x CLASSICS<\/h1>\n[\/fancy_box][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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