{"id":13615,"date":"2024-06-07T07:28:49","date_gmt":"2024-06-07T05:28:49","guid":{"rendered":"https:\/\/emag.baerenreiter.com\/baerenreiter-during-the-post-war-years\/"},"modified":"2024-11-20T14:07:56","modified_gmt":"2024-11-20T13:07:56","slug":"baerenreiter-during-the-post-war-years","status":"publish","type":"page","link":"https:\/\/emag.baerenreiter.com\/en\/the-history\/baerenreiter-during-the-post-war-years\/","title":{"rendered":"B\u00e4renreiter during the Post-War Years"},"content":{"rendered":"

Rebuilding and Expanding. B\u00e4renreiter during the Post-War Years<\/span><\/h1>

\u201cStunde Null\u201d and reconstruction<\/span><\/h2><\/div><\/div><\/div><\/div><\/div>
<\/div><\/div><\/div>
\r\n\t\t\t

Karl V\u00f6tterle followed the theologian Karl Barth in understanding \u201cbeing allowed to start again from nothing\u201d as the \u201cgrace of ground zero\u201d,[1] and indeed the sense of new beginnings, of a new era, is palpable in all accounts of this period. \u201cAway with the rubble!\u201d \u2013 this served as a motto not only for the arduous reconstruction of B\u00e4renreiter\u2019s premises, but also, figuratively speaking, for overcoming the aftermath of the Nazi period. Of course, the much-invoked \u201cStunde Null\u201d, the zero hour of the end of the War, is simply a narrative, for B\u00e4renreiter\u2019s future was inconceivable without its past, a past that could and would be built upon, and initially quite literally: thirty remaining or returning employees rolled up their sleeves and cleared away the debris, searching for what was still usable, and together with V\u00f6tterle \u2013 who was after all a bricklayer\u2019s son \u2013 put a new roof on the outer walls of the so-called \u201cnew building\u201d by Christmas 1945.<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div>

\r\n\t\t\t

With professional support, but under the adverse conditions of the general post-war shortages, makeshift buildings were erected, interior work was pushed ahead, and furniture and machinery were organised; large vegetable fields established in the publishing house\u2019s garden helped to improve everyone\u2019s food supply. Thanks to a talent for improvisation, the family business\u2019s team spirit and, last but not least, V\u00f6tterle\u2019s trust in God, B\u00e4renreiter was able to start selling antiquarian books in 1945. Part of this stock had been rescued from a bricked-up B\u00e4renreiter cellar; the rest came from the holdings of a library B\u00e4renreiter had purchased or had been gifted by friends of the publishing house.<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div>

<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>
<\/div><\/div><\/div><\/div><\/div><\/div>
\r\n\t
\r\n\t\t\r\n\r\n
\r\n\t\t
\"\"<\/div><\/div>\t<\/div>\r\n\t<\/div>\r\n<\/div>\r\n
<\/div>
\r\n\t\t\t

Brisk construction after the War<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div>

\r\n\t
\r\n\t\t\r\n\r\n
\r\n\t\t
\"\"<\/div><\/div>\t<\/div>\r\n\t<\/div>\r\n<\/div>\r\n
<\/div>
\r\n\t\t\t

The new company building after reconstruction<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>

<\/div><\/div><\/div>

First publishing projects<\/span><\/h2>
\r\n\t\t\t

After a publishing licence was granted to chief editor Richard Baum in January 1946 (Karl V\u00f6tterle was not allowed to take over until the conclusion of his denazification proceedings in late 1947), B\u00e4renreiter\u2019s first post-war publishing projects \u2013 luckily viewed favourably by U.S.\u201cInformation Control\u201d \u2013 took on concrete shape. In particular, B\u00e4renreiter\u2019s magazines such as Die Neue Schau and Musik und Kirche seemed predestined to \u201cserve the publishing house\u2019s mission\u201d by opening up \u201csufficient strength to rebuild\u201d2 in post-war Germany; the same applied to the newly added branch of amateur plays. Despite gifts received from abroad, there was still not enough paper to print music, and so initially holdings from B\u00e4renreiter\u2019s archive that had been stored in a countryside brickyard and had thus survived the War were offered for hire.<\/p>\n\r\n\t\t<\/div>\r\n\t

<\/div>
\r\n\t
\r\n\t\t\r\n\r\n
\r\n\t\t
\"\"<\/div><\/div>\t<\/div>\r\n\t<\/div>\r\n<\/div>\r\n
<\/div>
\r\n\t\t\t

Theodor K\u00f6rner Der Vetter aus Bremen, B\u00e4renreiter-Laienspiele No. 10, 1947<\/p>\n\r\n\t\t<\/div>\r\n\t

<\/div><\/div><\/div><\/div>
<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>

A new family beginning<\/span><\/h2>
\r\n\t\t\t

There was also a fresh start in Karl V\u00f6tterle\u2019s private life: in March 1945, he had found a new partner and a mother for his four children in Hildegard Preime, the widow of the art historian and B\u00e4renreiter author Eberhard Preime, who had been killed in action in the War. Two and a half years later, on 27 November 1947, Hildegard gave birth to a daughter, Barbara. It was Barbara who took over the management of B\u00e4renreiter after her father\u2019s death in 1975.<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div>

\r\n\t
\r\n\t\t\r\n\r\n
\r\n\t\t
\"\"<\/div><\/div>\t<\/div>\r\n\t<\/div>\r\n<\/div>\r\n
<\/div>
\r\n\t\t\t

Congratulatory letter on the birth of Barbara V\u00f6tterle<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>

<\/div><\/div><\/div>

Expansion of the catalogue, contemporary composers<\/span><\/h2>
<\/div>
\r\n\t\t\t

By 1947, the number of B\u00e4renreiter\u2019s employees had already risen to 86; step by step, older titles were reprinted and the catalogue expanded. In 1950, a supplement to the 1949 Complete Catalogue \u2013 which was in effect a \u201ctorso\u201d in that it contained \u201conly a small part of the publications that had appeared in the twenty-five years since the founding of B\u00e4renreiter\u201d3 \u2013 appeared in print, listing more than 200 new titles published between June 1949 and September 1950 as well as reprints: the popular Quempas, the works of Heinrich Sch\u00fctz and keyboard music by Johann Sebastian Bach, as well as new names such as Helmut Bornefeld, Willy Burkhard, Johannes Driessler, Christian Lahusen, Hans Friedrich Micheelsen and Siegfried Reda, the first issues of the Hortus musicus series, and above all the first four volumes of the encyclopaedia Die Musik in Geschichte und Gegenwart.<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div>

\r\n\t
\r\n\t\t\r\n\r\n
\r\n\t\t
\"\"<\/div><\/div>\t<\/div>\r\n\t<\/div>\r\n<\/div>\r\n
<\/div>
\r\n\t\t\t

First publication of the series Hortus Musicus<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div>

<\/div><\/div><\/div>
<\/div><\/div><\/div>
\r\n\t
\r\n\t\t\r\n\r\n
\r\n\t\t
\"\"<\/div><\/div>\t<\/div>\r\n\t<\/div>\r\n<\/div>\r\n
<\/div>
\r\n\t\t\t

The B\u00e4renreiter distribution services in the 1950ies<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div>

<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>
<\/div><\/div><\/div>
\r\n\t
\r\n\t\t\r\n\r\n
\r\n\t\t
\"\"<\/div><\/div>\t<\/div>\r\n\t<\/div>\r\n<\/div>\r\n
<\/div>
\r\n\t\t\t

The cover of the first volume of the MGG Aachen \u2013 Blumer, 1949\u20131951<\/p>\n\r\n\t\t<\/div>\r\n\t

<\/div><\/div><\/div><\/div>

Complete editions and the MGG<\/span><\/h2>
\r\n\t\t\t

The \u201cgreat plans\u201d that V\u00f6tterle had taken \u201ccomfort in\u201d4 during the Nazi era were by no means mere romantic fantasy. With determination and an excellent feel for useful contacts, as well as a talent for making decisions at just the right moment, V\u00f6tterle had already set the realisation of these plans in motion during the War. Together with Friedrich Blume, a musicologist from Kiel well connected during the Nazi period, he not only prepared and published the MGG, but also founded the Gesellschaft f\u00fcr Musikforschung (Society for Music Research) in 1947 and collaborated strategically with Blume on the preparation and launch of numerous Complete Editions. While the first project, the Complete Works of Gluck, had still been supported by the National Socialists, the editions of the works of J. S. Bach, Telemann, Mozart, and Handel were created in the spirit of the post-war period, when the experience of the destruction of cultural assets was still vividly present and the desire to preserve and order what had been handed down was a driving force.<\/p>\n\r\n\t\t<\/div>\r\n\t

<\/div><\/div><\/div><\/div>
<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>

East and West German cooperation<\/span><\/h2>
\r\n\t\t\t

In his programmatic essay Die Stunde der Gesamtausgabe (\u201cThe Hour of the Complete Edition\u201d), V\u00f6tterle pointed out that such projects \u201cpoint to the future in terms of the essence of publishing\u201d.5 Looking back, this certainly proved true for the area of Complete Editions and the resulting expansion of B\u00e4renreiter\u2019s Urtext catalogue; but B\u00e4renreiter also led the way in scholarly and political terms, successfully overcoming international borders, especially those of the Iron Curtain. By the time V\u00f6tterle received the commission for the New Bach Edition from West Germany\u2019s President Theodor Heuss on 3 March 1951, B\u00e4renreiter had become something that its founder had not initially intended: a world-class music publisher.<\/p>\n

Gudula Sch\u00fctz<\/em><\/p>\n\r\n\t\t<\/div>\r\n\t

<\/div>
\r\n\t
\r\n\t\t\r\n\r\n
\r\n\t\t
\"\"<\/div><\/div>\t<\/div>\r\n\t<\/div>\r\n<\/div>\r\n
<\/div>
\r\n\t\t\t

Federal President Theodor Heuss and Karl V\u00f6tterle in conversation<\/p>\n\r\n\t\t<\/div>\r\n\t

<\/div><\/div><\/div><\/div>
\r\n\t
\r\n\t\t\r\n\r\n
\r\n\t\t
\"\"<\/div><\/div>\t<\/div>\r\n\t<\/div>\r\n<\/div>\r\n
<\/div>
\r\n\t\t\t

Pass for Karl V\u00f6tterle issued by the Ministry of Culture of the GDR<\/p>\n\r\n\t\t<\/div>\r\n\t

<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>
<\/div><\/div><\/div>
\r\n\t\t\t

[1] Karl V\u00f6tterle, Haus unterm Stern, Kassel 41969, p. 186.
\n[2] Der B\u00e4renreiter-Bote, no. 11, Kassel 1947, p. [17] and [13].
\n[3] Gesamtverzeichnis, Kassel and Basel 1949, p. [3].
\n[4] V\u00f6tterle, B\u00e4renreiter-Verlag Kassel, Entwicklungs-geschichte, typescript 27 May 1971 (V\u00f6tterle estate).
\n[5] Musica vol. 10, no. 1, 1956, p. 35.<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div>

<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>\n"},"excerpt":{"rendered":"

Rebuilding and Expanding. B\u00e4renreiter during the Post-War Years<\/span><\/h1>

\u201cStunde Null\u201d and reconstruction<\/span><\/h2><\/div><\/div><\/div><\/div><\/div>
<\/div><\/div><\/div>
\r\n\t\t\t

Karl V\u00f6tterle followed the theologian Karl Barth in understanding \u201cbeing allowed to start again from nothing\u201d as the \u201cgrace of ground zero\u201d,[1] and indeed the sense of new beginnings, of a new era, is palpable in all accounts of this period. \u201cAway with the rubble!\u201d \u2013 this served as a motto not only for the arduous reconstruction of B\u00e4renreiter\u2019s premises, but also, figuratively speaking, for overcoming the aftermath of the Nazi period. Of course, the much-invoked \u201cStunde Null\u201d, the zero hour of the end of the War, is simply a narrative, for B\u00e4renreiter\u2019s future was inconceivable without its past, a past that could and would be built upon, and initially quite literally: thirty remaining or returning employees rolled up their sleeves and cleared away the debris, searching for what was still usable, and together with V\u00f6tterle \u2013 who was after all a bricklayer\u2019s son \u2013 put a new roof on the outer walls of the so-called \u201cnew building\u201d by Christmas 1945.<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div>

\r\n\t\t\t

With professional support, but under the adverse conditions of the general post-war shortages, makeshift buildings were erected, interior work was pushed ahead, and furniture and machinery were organised; large vegetable fields established in the publishing house\u2019s garden helped to improve everyone\u2019s food supply. Thanks to a talent for improvisation, the family business\u2019s team spirit and, last but not least, V\u00f6tterle\u2019s trust in God, B\u00e4renreiter was able to start selling antiquarian books in 1945. Part of this stock had been rescued from a bricked-up B\u00e4renreiter cellar; the rest came from the holdings of a library B\u00e4renreiter had purchased or had been gifted by friends of the publishing house.<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div>

<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>
<\/div><\/div><\/div><\/div><\/div><\/div>
\r\n\t
\r\n\t\t\r\n\r\n
\r\n\t\t
\"\"<\/div><\/div>\t<\/div>\r\n\t<\/div>\r\n<\/div>\r\n
<\/div>
\r\n\t\t\t

Brisk construction after the War<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div>

\r\n\t
\r\n\t\t\r\n\r\n
\r\n\t\t
\"\"<\/div><\/div>\t<\/div>\r\n\t<\/div>\r\n<\/div>\r\n
<\/div>
\r\n\t\t\t

The new company building after reconstruction<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>

<\/div><\/div><\/div>

First publishing projects<\/span><\/h2>
\r\n\t\t\t

After a publishing licence was granted to chief editor Richard Baum in January 1946 (Karl V\u00f6tterle was not allowed to take over until the conclusion of his denazification proceedings in late 1947), B\u00e4renreiter\u2019s first post-war publishing projects \u2013 luckily viewed favourably by U.S.\u201cInformation Control\u201d \u2013 took on concrete shape. In particular, B\u00e4renreiter\u2019s magazines such as Die Neue Schau and Musik und Kirche seemed predestined to \u201cserve the publishing house\u2019s mission\u201d by opening up \u201csufficient strength to rebuild\u201d2 in post-war Germany; the same applied to the newly added branch of amateur plays. Despite gifts received from abroad, there was still not enough paper to print music, and so initially holdings from B\u00e4renreiter\u2019s archive that had been stored in a countryside brickyard and had thus survived the War were offered for hire.<\/p>\n\r\n\t\t<\/div>\r\n\t

<\/div>
\r\n\t
\r\n\t\t\r\n\r\n
\r\n\t\t
\"\"<\/div><\/div>\t<\/div>\r\n\t<\/div>\r\n<\/div>\r\n
<\/div>
\r\n\t\t\t

Theodor K\u00f6rner Der Vetter aus Bremen, B\u00e4renreiter-Laienspiele No. 10, 1947<\/p>\n\r\n\t\t<\/div>\r\n\t

<\/div><\/div><\/div><\/div>
<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>

A new family beginning<\/span><\/h2>
\r\n\t\t\t

There was also a fresh start in Karl V\u00f6tterle\u2019s private life: in March 1945, he had found a new partner and a mother for his four children in Hildegard Preime, the widow of the art historian and B\u00e4renreiter author Eberhard Preime, who had been killed in action in the War. Two and a half years later, on 27 November 1947, Hildegard gave birth to a daughter, Barbara. It was Barbara who took over the management of B\u00e4renreiter after her father\u2019s death in 1975.<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div>

\r\n\t
\r\n\t\t\r\n\r\n
\r\n\t\t
\"\"<\/div><\/div>\t<\/div>\r\n\t<\/div>\r\n<\/div>\r\n
<\/div>
\r\n\t\t\t

Congratulatory letter on the birth of Barbara V\u00f6tterle<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>

<\/div><\/div><\/div>

Expansion of the catalogue, contemporary composers<\/span><\/h2>
<\/div>
\r\n\t\t\t

By 1947, the number of B\u00e4renreiter\u2019s employees had already risen to 86; step by step, older titles were reprinted and the catalogue expanded. In 1950, a supplement to the 1949 Complete Catalogue \u2013 which was in effect a \u201ctorso\u201d in that it contained \u201conly a small part of the publications that had appeared in the twenty-five years since the founding of B\u00e4renreiter\u201d3 \u2013 appeared in print, listing more than 200 new titles published between June 1949 and September 1950 as well as reprints: the popular Quempas, the works of Heinrich Sch\u00fctz and keyboard music by Johann Sebastian Bach, as well as new names such as Helmut Bornefeld, Willy Burkhard, Johannes Driessler, Christian Lahusen, Hans Friedrich Micheelsen and Siegfried Reda, the first issues of the Hortus musicus series, and above all the first four volumes of the encyclopaedia Die Musik in Geschichte und Gegenwart.<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div>

\r\n\t
\r\n\t\t\r\n\r\n
\r\n\t\t
\"\"<\/div><\/div>\t<\/div>\r\n\t<\/div>\r\n<\/div>\r\n
<\/div>
\r\n\t\t\t

First publication of the series Hortus Musicus<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div>

<\/div><\/div><\/div>
<\/div><\/div><\/div>
\r\n\t
\r\n\t\t\r\n\r\n
\r\n\t\t
\"\"<\/div><\/div>\t<\/div>\r\n\t<\/div>\r\n<\/div>\r\n
<\/div>
\r\n\t\t\t

The B\u00e4renreiter distribution services in the 1950ies<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div>

<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>
<\/div><\/div><\/div>
\r\n\t
\r\n\t\t\r\n\r\n
\r\n\t\t
\"\"<\/div><\/div>\t<\/div>\r\n\t<\/div>\r\n<\/div>\r\n
<\/div>
\r\n\t\t\t

The cover of the first volume of the MGG Aachen \u2013 Blumer, 1949\u20131951<\/p>\n\r\n\t\t<\/div>\r\n\t

<\/div><\/div><\/div><\/div>

Complete editions and the MGG<\/span><\/h2>
\r\n\t\t\t

The \u201cgreat plans\u201d that V\u00f6tterle had taken \u201ccomfort in\u201d4 during the Nazi era were by no means mere romantic fantasy. With determination and an excellent feel for useful contacts, as well as a talent for making decisions at just the right moment, V\u00f6tterle had already set the realisation of these plans in motion during the War. Together with Friedrich Blume, a musicologist from Kiel well connected during the Nazi period, he not only prepared and published the MGG, but also founded the Gesellschaft f\u00fcr Musikforschung (Society for Music Research) in 1947 and collaborated strategically with Blume on the preparation and launch of numerous Complete Editions. While the first project, the Complete Works of Gluck, had still been supported by the National Socialists, the editions of the works of J. S. Bach, Telemann, Mozart, and Handel were created in the spirit of the post-war period, when the experience of the destruction of cultural assets was still vividly present and the desire to preserve and order what had been handed down was a driving force.<\/p>\n\r\n\t\t<\/div>\r\n\t

<\/div><\/div><\/div><\/div>
<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>

East and West German cooperation<\/span><\/h2>
\r\n\t\t\t

In his programmatic essay Die Stunde der Gesamtausgabe (\u201cThe Hour of the Complete Edition\u201d), V\u00f6tterle pointed out that such projects \u201cpoint to the future in terms of the essence of publishing\u201d.5 Looking back, this certainly proved true for the area of Complete Editions and the resulting expansion of B\u00e4renreiter\u2019s Urtext catalogue; but B\u00e4renreiter also led the way in scholarly and political terms, successfully overcoming international borders, especially those of the Iron Curtain. By the time V\u00f6tterle received the commission for the New Bach Edition from West Germany\u2019s President Theodor Heuss on 3 March 1951, B\u00e4renreiter had become something that its founder had not initially intended: a world-class music publisher.<\/p>\n

Gudula Sch\u00fctz<\/em><\/p>\n\r\n\t\t<\/div>\r\n\t

<\/div>
\r\n\t
\r\n\t\t\r\n\r\n
\r\n\t\t
\"\"<\/div><\/div>\t<\/div>\r\n\t<\/div>\r\n<\/div>\r\n
<\/div>
\r\n\t\t\t

Federal President Theodor Heuss and Karl V\u00f6tterle in conversation<\/p>\n\r\n\t\t<\/div>\r\n\t

<\/div><\/div><\/div><\/div>
\r\n\t
\r\n\t\t\r\n\r\n
\r\n\t\t
\"\"<\/div><\/div>\t<\/div>\r\n\t<\/div>\r\n<\/div>\r\n
<\/div>
\r\n\t\t\t

Pass for Karl V\u00f6tterle issued by the Ministry of Culture of the GDR<\/p>\n\r\n\t\t<\/div>\r\n\t

<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>
<\/div><\/div><\/div>
\r\n\t\t\t

[1] Karl V\u00f6tterle, Haus unterm Stern, Kassel 41969, p. 186.
\n[2] Der B\u00e4renreiter-Bote, no. 11, Kassel 1947, p. [17] and [13].
\n[3] Gesamtverzeichnis, Kassel and Basel 1949, p. [3].
\n[4] V\u00f6tterle, B\u00e4renreiter-Verlag Kassel, Entwicklungs-geschichte, typescript 27 May 1971 (V\u00f6tterle estate).
\n[5] Musica vol. 10, no. 1, 1956, p. 35.<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div>

<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>\n"},"author":11,"featured_media":0,"parent":13721,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"_vp_format_video_url":"","_vp_image_focal_point":[],"_vp_custom_popup_image":0,"_vp_format_audio_url":"","_vp_album_images":[],"_vp_custom_thumbnail":0,"_vp_custom_thumbnail_focal_point":[],"_vp_custom_thumbnail_cover":0,"_vp_hover_thumbnail":0,"_vp_hover_thumbnail_focal_point":[],"footnotes":""},"class_list":["post-13615","page","type-page","status-publish","hentry","grve-entry-item"],"acf":[],"wpml_current_locale":"en_US","wpml_translations":{"de_DE":{"locale":"de_DE","id":8909,"slug":"der-verlag-in-der-nachkriegszeit","post_title":"Der Verlag in der Nachkriegszeit","href":"https:\/\/emag.baerenreiter.com\/verlag\/die-geschichte\/der-verlag-in-der-nachkriegszeit\/"}},"_links":{"self":[{"href":"https:\/\/emag.baerenreiter.com\/en\/wp-json\/wp\/v2\/pages\/13615","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/emag.baerenreiter.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/emag.baerenreiter.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/emag.baerenreiter.com\/en\/wp-json\/wp\/v2\/users\/11"}],"replies":[{"embeddable":true,"href":"https:\/\/emag.baerenreiter.com\/en\/wp-json\/wp\/v2\/comments?post=13615"}],"version-history":[{"count":2,"href":"https:\/\/emag.baerenreiter.com\/en\/wp-json\/wp\/v2\/pages\/13615\/revisions"}],"predecessor-version":[{"id":13617,"href":"https:\/\/emag.baerenreiter.com\/en\/wp-json\/wp\/v2\/pages\/13615\/revisions\/13617"}],"up":[{"embeddable":true,"href":"https:\/\/emag.baerenreiter.com\/en\/wp-json\/wp\/v2\/pages\/13721"}],"wp:attachment":[{"href":"https:\/\/emag.baerenreiter.com\/en\/wp-json\/wp\/v2\/media?parent=13615"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}