{"id":1026,"date":"2023-01-11T16:18:49","date_gmt":"2023-01-11T16:18:49","guid":{"rendered":"https:\/\/ensemble-correspondances.lacooperativedesinternets.fr\/?post_type=discography&#038;p=1026"},"modified":"2023-01-17T16:16:36","modified_gmt":"2023-01-17T15:16:36","slug":"lecons-des-tenebres","status":"publish","type":"discography","link":"https:\/\/www.ensemblecorrespondances.com\/en\/discographies\/lecons-des-tenebres\/","title":{"rendered":"Le\u00e7ons des T\u00e9n\u00e8bres"},"excerpt":{"rendered":"<p>When Lalande left this vale of tears, his fame was its height; between 1725 and 1730, he was the composer most frequently programmed in Paris. Audiences flocked to hear his motets, notably the three Le\u00e7ons de T\u00e9n\u00e8bres and the Miserere for solo voice, written for the offices of Holy Week. Many composers had already produced settings of these texts in the France of the Sun King, making the Office of Tenebrae a genuine social event. True to the same aesthetic, Lalande exploited this art of ambiguity while deviating from tradition.<\/p>\n","protected":false},"author":4,"featured_media":1052,"template":"","class_list":["post-1026","discography","type-discography","status-publish","has-post-thumbnail","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.ensemblecorrespondances.com\/en\/wp-json\/wp\/v2\/discography\/1026","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.ensemblecorrespondances.com\/en\/wp-json\/wp\/v2\/discography"}],"about":[{"href":"https:\/\/www.ensemblecorrespondances.com\/en\/wp-json\/wp\/v2\/types\/discography"}],"author":[{"embeddable":true,"href":"https:\/\/www.ensemblecorrespondances.com\/en\/wp-json\/wp\/v2\/users\/4"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.ensemblecorrespondances.com\/en\/wp-json\/wp\/v2\/media\/1052"}],"wp:attachment":[{"href":"https:\/\/www.ensemblecorrespondances.com\/en\/wp-json\/wp\/v2\/media?parent=1026"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}