{"id":161,"date":"2019-03-07T10:56:40","date_gmt":"2019-03-07T09:56:40","guid":{"rendered":"http:\/\/constanceluzzati.com\/?p=161"},"modified":"2025-06-12T11:26:12","modified_gmt":"2025-06-12T09:26:12","slug":"membra-jesu-nostri","status":"publish","type":"post","link":"https:\/\/constanceluzzati.com\/index.php\/2019\/03\/07\/membra-jesu-nostri\/","title":{"rendered":"Buxtehude, Membra Jesu nostri"},"content":{"rendered":"\n<div class=\"wp-block-uagb-image uagb-block-35fe8f66 wp-block-uagb-image--layout-default wp-block-uagb-image--effect-static wp-block-uagb-image--align-none\"><figure class=\"wp-block-uagb-image__figure\"><img decoding=\"async\" srcset=\"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/03\/1920px-Cimabue_crocifissione_del_transetto_sinistro-1024x737.jpeg ,https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/03\/1920px-Cimabue_crocifissione_del_transetto_sinistro.jpeg 780w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/03\/1920px-Cimabue_crocifissione_del_transetto_sinistro.jpeg 360w\" sizes=\"(max-width: 480px) 150px\" src=\"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/03\/1920px-Cimabue_crocifissione_del_transetto_sinistro-1024x737.jpeg\" alt=\"\" class=\"uag-image-8681\" width=\"1920\" height=\"1381\" title=\"1920px-Cimabue,_crocifissione_del_transetto_sinistro\" loading=\"lazy\" role=\"img\"\/><\/figure><\/div>\n\n\n\n<p class=\"has-text-color\" style=\"color:#256ea2;font-size:17px\">Tous les param\u00e8tres de l\u2019\u0153uvre sont ambivalents\u00a0: une pl\u00e9nitude sereine et contenue fait contrepoids \u00e0 la puissante expression des affects, les textes concis choisis dans l\u2019Ecriture \u00e0 la po\u00e9sie mystique cistercienne, la r\u00e9jouissance \u00e0 l\u2019affliction\u00a0; la symbolique musicale porte finitude et accomplissement \u00e0 un m\u00eame degr\u00e9 d\u2019intensit\u00e9. La musique de Buxtehude est une dialectique qui met en tension d\u00e8s le d\u00e9but une \u00e9l\u00e9vation du motif musical paradoxalement douloureuse, tandis que l\u2019amen final fait entendre de pl\u00e9thoriques cascades descendantes mais victorieuses. L\u2019\u00e9l\u00e9vation domine cependant, par le chant des membres du Christ des pieds \u00e0 la t\u00eate, comme par les figures musicales ascendantes pr\u00e9pond\u00e9rantes, telles le surgissement qui porte le \u00ab\u00a0L\u00e8ve-toi\u00a0\u00bb qui ouvre\u00a0<em>Ad latus<\/em>, bref mais dont le souffle est aussi puissant que celui qui accompagne les m\u00eames paroles dans le motet\u00a0<em>Nigra sum <\/em>des\u00a0<em>V\u00eapres <\/em>de Monteverdi.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<div class=\"ast-oembed-container \" style=\"height: 100%;\"><iframe loading=\"lazy\" title=\"Buxtehude \u2013 Dayer : Membra Jesu Nostri\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/b2TFCuYyWzk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<\/div><\/figure>\n\n\n\n<p class=\"has-ast-global-color-7-color has-text-color\" style=\"font-size:17px\"><em>Membra Jesu <\/em>est un cycle de sept cantates compos\u00e9es par Buxtehude \u00e0 L\u00fcbeck en 1680. Chaque cantate est constitu\u00e9e d\u2019une sonate instrumentale en ouverture, puis d\u2019un concert choral, suivi de trois strophes souvent solistes qui se terminent par une reprise du ch\u0153ur initial. Elles ont \u00e9t\u00e9 con\u00e7ues soit pour \u00eatre jou\u00e9es en totalit\u00e9 pendant la liturgie d\u2019un office long comme celui du vendredi saint, soit pour \u00eatre interpr\u00e9t\u00e9es s\u00e9par\u00e9ment chaque jour de la semaine sainte,\u00a0<em>Ad Cor<\/em>, la sixi\u00e8me cantate, \u00e9tant alors d\u00e9volue au vendredi.<\/p>\n\n\n\n<p>Le texte, m\u00e9ditation sur les plaies du Christ, au XVII\u00e8me si\u00e8cle attribu\u00e9 \u00e0 Bernard de Clairvaux, est en majorit\u00e9 d\u00fb \u00e0 un cistercien du XIII\u00e8me si\u00e8cle. Buxtehude retient, au sein de chaque long po\u00e8me, trois demi-strophes pour chaque cantate, qu\u2019il fait pr\u00e9c\u00e9der d\u2019une citation biblique le plus souvent issue de livres proph\u00e9tiques qui ont pu \u00eatre interpr\u00e9t\u00e9s comme annon\u00e7ant la venue du Christ. Chacune des citations comporte une mention de la partie bless\u00e9e du Christ sur laquelle porte la cantate. La 4<sup>\u00e8me<\/sup>,&nbsp;<em>Ad Latus<\/em>, fait exception&nbsp;: le compositeur n\u2019ayant pu trouver de passage du Premier Testament faisant r\u00e9f\u00e9rence au c\u00f4t\u00e9 au sens corporel et non g\u00e9ographique, c\u2019est vers le Cantique des cantiques qu\u2019il s\u2019est tourn\u00e9, l\u2019anfractuosit\u00e9 du rocher o\u00f9 se niche l\u2019aim\u00e9e faisant \u00e9cho au flanc du Christ bless\u00e9 qui rec\u00e8le la force d\u2019aimer.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<div class=\"ast-oembed-container \" style=\"height: 100%;\"><iframe loading=\"lazy\" title=\"Membra Jesu Nostri | Cantata Ad latus BuxWV7 - Dietrich Buxtehude\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/6wqshElX9E4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<\/div><\/figure>\n\n\n\n<p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Buxtehude donne toujours beaucoup plus d\u2019importance musicale aux textes issus de l\u2019\u00c9criture qu\u2019aux po\u00e8mes cisterciens&nbsp;: ils sont repris au d\u00e9but et \u00e0 la fin de chaque cantate, et dot\u00e9s d\u2019une musique qui leur est propre, \u00e0 la diff\u00e9rence des strophes interm\u00e9diaires qui font souvent entendre un texte et un chanteur diff\u00e9rent sur une musique d\u00e9j\u00e0 entendue. Par ailleurs ils sont une expression de foi collective, entonn\u00e9e par l\u2019ensemble des chanteurs, et non pas d\u2019une pi\u00e9t\u00e9 individuelle exprim\u00e9e par un seul chanteur comme c\u2019est le cas des strophes centrales. Le chant \u00e0 voix seule n\u2019est cependant pas n\u00e9glig\u00e9 par le compositeur, car il est \u00e0 la fois le symbole d\u2019une relation individuelle \u00e0 la transcendance, et le moyen privil\u00e9gi\u00e9 d\u2019exprimer les affects, comme dans la musique italienne moderne.<\/p>\n\n\n\n<p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;La musique exprime en permanence cette dialectique entre collectif et individuel, et on serait tent\u00e9 de penser que le titre choisi par Buxtehude est \u00e9galement un \u00e9cho \u00e0 l\u2019id\u00e9e de communaut\u00e9 humaine. Il n\u2019a en effet pas intitul\u00e9 son \u0153uvre \u00ab&nbsp;Les seps plaies du Christ&nbsp;\u00bb, sens qui lui est souvent associ\u00e9, mais les&nbsp;<em>Membres de notre Christ<\/em>, ce qui, pour un lecteur assidu de l\u2019\u00c9criture comme lui, fait n\u00e9cessairement \u00e9cho aux m\u00e9taphores du corps des \u00e9p\u00eetres pauliniennes. C\u2019est alors autant les plaies du Christ qui sont chant\u00e9es par Buxtehude, que les membres souffrants de la communaut\u00e9 humaine.<\/p>\n\n\n\n<p>Les po\u00e8mes cisterciens sont par moments suaves et doloristes, mais Buxtehude att\u00e9nue ces caract\u00e9ristique en mettant ne mettant pas en valeur les mots les plus sanglants ou tendres, hormis une insistance sur la croix, les plaies, la blessure, les larmes, ainsi que sur la caresse de&nbsp;<em>Ad Genua<\/em>.&nbsp;&nbsp;Les parties du corps ne sont pas particuli\u00e8rement soulign\u00e9es par la musique, mais simplement exprim\u00e9es distinctement, souvent en psalmodie chorale o\u00f9 tous les chanteurs adoptent le m\u00eame rythme de diction, ce qui rend le texte tr\u00e8s intelligible. Les figures musicales employ\u00e9es par Buxtehude mettent davantage en valeur des mots qui expriment la faiblesse et l\u2019humilit\u00e9.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<div class=\"ast-oembed-container \" style=\"height: 100%;\"><iframe loading=\"lazy\" title=\"Buxtehude: Membra Jesu Nostri, BuxWV 75: 2. Ad genua\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/vWSJLjNzguY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<\/div><\/figure>\n\n\n\n<p>Ces figures de rh\u00e9torique portent le discours musical, lui conf\u00e8rent toute sa puissance oratoire, lui donnent la capacit\u00e9 d\u2019agir sur l\u2019auditeur, de le persuader et de le toucher. Dans <em>Ad Manus<\/em>, il capte ainsi l\u2019attention, tel un rh\u00e9teur, d\u00e8s les premi\u00e8res notes employ\u00e9es, qui ass\u00e8nent une note r\u00e9p\u00e9t\u00e9e dans la sonate instrumentale, reprises sur le d\u00e9but du texte issu de Zacharie, renforc\u00e9 par une dissonance remarquable sur&nbsp;<em>plagae<\/em>(les plaies). Le m\u00eame rythme est employ\u00e9 au d\u00e9but de&nbsp;<em>Ad cor<\/em>, sur&nbsp;<em>vulnerasti<\/em>(tu as bless\u00e9), avec un saut d\u2019intervalle expressif, utilis\u00e9 pour signifier ce qui est \u00ab&nbsp;sauvage, atroce&nbsp;\u00bb. Buxtehude utilise \u00e9galement souvent des figures exprimant une gradation d\u2019intensit\u00e9 par diverses formes de r\u00e9p\u00e9tition, comme sur&nbsp;<em>caducis<\/em>(vacillant) dans&nbsp;<em>Ad genua<\/em>. Parmi les figures les plus marquantes, l\u2019<em>abruptio<\/em>, interruption et silence brusque, choquant, est une des figures les plus marquantes de&nbsp;<em>Ad Manus<\/em>.<\/p>\n\n\n\n<p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Plus \u00e9tendu dans le temps, le \u00ab&nbsp;tremolo&nbsp;\u00bb indiqu\u00e9 par Buxetude au tout d\u00e9but de&nbsp;<em>Ad genua<\/em>, dans la sonate instrumentale, marque plus fortement l\u2019auditeur. La r\u00e9p\u00e9tition fig\u00e9e de chaque note repr\u00e9sente tout autant la pulsation lancinante de la douleur que le tremblement associ\u00e9 dans l\u2019Ecriture \u00e0 la crainte. Ce tremolo est associ\u00e9 \u00e0 des harmonies qui expriment par moments la tension, en prolongeant une note de l\u2019accord pr\u00e9c\u00e9dent dans l\u2019accord suivant, auquel elle est \u00e9trang\u00e8re, et par moments la suavit\u00e9, avec des encha\u00eenements r\u00e9p\u00e9t\u00e9s d\u2019accords de quatre sons qui se d\u00e9calent progressivement. Quelques rares passages saisissent aux entrailles par des surprises harmoniques, \u00e0 l\u2019effet d\u2019autant plus vif qu\u2019ils sont rares et sans surench\u00e8re, fig\u00e9s et retenu par le tremolo. La reprise du premier ch\u0153ur de <em>Ad Cor<\/em> fait entendre la m\u00eame pulsation sonore des instruments \u00e0 cordes (tremolo). Elle fait \u00e9cho \u00e0 la mise en exergue du mot \u00ab&nbsp;tremore&nbsp;\u00bb, r\u00e9p\u00e9t\u00e9 \u00e0 toutes les voix, qui \u00e9voque le tremblement et la crainte qui surgissent \u00e0 l\u2019intuition du numineux.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<div class=\"ast-oembed-container \" style=\"height: 100%;\"><iframe loading=\"lazy\" title=\"VI. \u201cAd cor&quot;, D. Buxtehude | Membra Jesu Nostri | TENET Vocal Artists\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/eA-mhzeEG2U?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<\/div><\/figure>\n\n\n\n<p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;La joie de l\u2019accomplissement et la douleur de l\u2019inaccomplissement sont inh\u00e9rents \u00e0 la structure m\u00eame de l\u2019\u0153uvre, en sept cantates, nombre de l\u2019accomplissement par excellence, constitu\u00e9es chacun de six parties, nombre de l\u2019inach\u00e8vement et de l\u2019imperfection. La cantate qui exprime le plus vivement ce paradoxe est&nbsp;<em>Ad faciem<\/em>, o\u00f9 le texte terrible est mis en musique de fa\u00e7on enjou\u00e9e et dansante. Peut-\u00eatre est-ce l\u00e0 un \u00e9cho au rythme de ritournelle de la chanson profane enjou\u00e9e de Hassler qui sera utilis\u00e9e comme m\u00e9lodie de la traduction allemande de ce texte, qui sera utilis\u00e9 par Bach \u00e0 de nombreuses reprises dans la Passion selon Matthieu.  La rythmique enjou\u00e9e du&nbsp;<em>Ad faciem<\/em>de&nbsp;<em>Membra jesu <\/em>peut \u00eatre comprise tout autrement, comme une allusion \u00e0 la joie profonde que constitue le fait de se tenir devant la face de Dieu \u00e0 travers l\u2019image du Christ meurtri, humili\u00e9 et souffrant. Buxtehude exprime ici, de fa\u00e7on tr\u00e8s diff\u00e9rente de la tr\u00e8s belle musique tridentine toute de suavit\u00e9 et de d\u00e9lectation doloriste, une mystique de la croix o\u00f9 la transcendance radicale se rencontre paradoxalement \u00e0 travers la faiblesse radicale, o\u00f9 l\u2019\u00e9l\u00e9vation et l\u2019abaissement sont inextricablement li\u00e9s.<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p class=\"has-vivid-cyan-blue-color has-text-color\">https:\/\/oratoiredulouvre.fr\/index.php\/documents\/bulletins<\/p>\n\n\n\n<p class=\"has-very-light-gray-background-color has-background\">Pour citer cet article : Constance Luzzati, \u00ab\u00a0Membra Jesu Nostri\u00a0\u00bb, <em>Bulletin de l&rsquo;Oratoire du Louvre<\/em>, n\u00b0806, Paris, 2016<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tous les param\u00e8tres de l\u2019\u0153uvre sont ambivalents\u00a0: une pl\u00e9nitude sereine et contenue fait contrepoids \u00e0 la puissante expression des affects, [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_uag_custom_page_level_css":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[8,40],"tags":[27,30,41,43,29,28],"class_list":["post-161","post","type-post","status-publish","format-standard","hentry","category-musique-ancienne-et-religieuse","category-musique-religieuse","tag-buxtehude","tag-cantate","tag-cantique-des-cantiques","tag-kenose","tag-mystique-cistercienne","tag-rhetorique"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v25.2 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Buxtehude, Membra Jesu nostri - Constance Luzzati<\/title>\n<meta name=\"description\" content=\"L&#039;art de lier les paradoxes pour une musique qui exprime l&#039;\u00e9l\u00e9vation dans l&#039;abaissement, et la transcendance \u00e0 travers la faiblesse.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/constanceluzzati.com\/index.php\/2019\/03\/07\/membra-jesu-nostri\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Buxtehude, Membra Jesu nostri - Constance Luzzati\" \/>\n<meta property=\"og:description\" content=\"L&#039;art de lier les paradoxes pour une musique qui exprime l&#039;\u00e9l\u00e9vation dans l&#039;abaissement, et la transcendance \u00e0 travers la faiblesse.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/constanceluzzati.com\/index.php\/2019\/03\/07\/membra-jesu-nostri\/\" \/>\n<meta property=\"og:site_name\" content=\"Constance Luzzati\" \/>\n<meta property=\"article:published_time\" content=\"2019-03-07T09:56:40+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2025-06-12T09:26:12+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/03\/1920px-Cimabue_crocifissione_del_transetto_sinistro-1024x737.jpeg\" \/>\n<meta name=\"author\" content=\"cladmin\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"\u00c9crit par\" \/>\n\t<meta name=\"twitter:data1\" content=\"cladmin\" \/>\n\t<meta name=\"twitter:label2\" content=\"Dur\u00e9e de lecture estim\u00e9e\" \/>\n\t<meta name=\"twitter:data2\" content=\"7 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/constanceluzzati.com\/index.php\/2019\/03\/07\/membra-jesu-nostri\/\",\"url\":\"https:\/\/constanceluzzati.com\/index.php\/2019\/03\/07\/membra-jesu-nostri\/\",\"name\":\"Buxtehude, Membra Jesu nostri - Constance Luzzati\",\"isPartOf\":{\"@id\":\"https:\/\/constanceluzzati.com\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/constanceluzzati.com\/index.php\/2019\/03\/07\/membra-jesu-nostri\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/constanceluzzati.com\/index.php\/2019\/03\/07\/membra-jesu-nostri\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/03\/1920px-Cimabue_crocifissione_del_transetto_sinistro-1024x737.jpeg\",\"datePublished\":\"2019-03-07T09:56:40+00:00\",\"dateModified\":\"2025-06-12T09:26:12+00:00\",\"author\":{\"@id\":\"https:\/\/constanceluzzati.com\/#\/schema\/person\/73689fd2f5e312d160436017f117ab8d\"},\"description\":\"L'art de lier les paradoxes pour une musique qui exprime l'\u00e9l\u00e9vation dans l'abaissement, et la transcendance \u00e0 travers la faiblesse.\",\"breadcrumb\":{\"@id\":\"https:\/\/constanceluzzati.com\/index.php\/2019\/03\/07\/membra-jesu-nostri\/#breadcrumb\"},\"inLanguage\":\"fr-FR\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/constanceluzzati.com\/index.php\/2019\/03\/07\/membra-jesu-nostri\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"fr-FR\",\"@id\":\"https:\/\/constanceluzzati.com\/index.php\/2019\/03\/07\/membra-jesu-nostri\/#primaryimage\",\"url\":\"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/03\/1920px-Cimabue_crocifissione_del_transetto_sinistro-1024x737.jpeg\",\"contentUrl\":\"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/03\/1920px-Cimabue_crocifissione_del_transetto_sinistro-1024x737.jpeg\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/constanceluzzati.com\/index.php\/2019\/03\/07\/membra-jesu-nostri\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/constanceluzzati.com\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Buxtehude, Membra Jesu nostri\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/constanceluzzati.com\/#website\",\"url\":\"https:\/\/constanceluzzati.com\/\",\"name\":\"Constance Luzzati\",\"description\":\"harpiste, musicologue\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/constanceluzzati.com\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"fr-FR\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/constanceluzzati.com\/#\/schema\/person\/73689fd2f5e312d160436017f117ab8d\",\"name\":\"cladmin\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"fr-FR\",\"@id\":\"https:\/\/constanceluzzati.com\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/8fd812dcfb43a051255c4494719a227e?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/8fd812dcfb43a051255c4494719a227e?s=96&d=mm&r=g\",\"caption\":\"cladmin\"},\"url\":\"https:\/\/constanceluzzati.com\/index.php\/author\/cladmin\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Buxtehude, Membra Jesu nostri - Constance Luzzati","description":"L'art de lier les paradoxes pour une musique qui exprime l'\u00e9l\u00e9vation dans l'abaissement, et la transcendance \u00e0 travers la faiblesse.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/constanceluzzati.com\/index.php\/2019\/03\/07\/membra-jesu-nostri\/","og_locale":"fr_FR","og_type":"article","og_title":"Buxtehude, Membra Jesu nostri - Constance Luzzati","og_description":"L'art de lier les paradoxes pour une musique qui exprime l'\u00e9l\u00e9vation dans l'abaissement, et la transcendance \u00e0 travers la faiblesse.","og_url":"https:\/\/constanceluzzati.com\/index.php\/2019\/03\/07\/membra-jesu-nostri\/","og_site_name":"Constance Luzzati","article_published_time":"2019-03-07T09:56:40+00:00","article_modified_time":"2025-06-12T09:26:12+00:00","og_image":[{"url":"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/03\/1920px-Cimabue_crocifissione_del_transetto_sinistro-1024x737.jpeg","type":"","width":"","height":""}],"author":"cladmin","twitter_card":"summary_large_image","twitter_misc":{"\u00c9crit par":"cladmin","Dur\u00e9e de lecture estim\u00e9e":"7 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/constanceluzzati.com\/index.php\/2019\/03\/07\/membra-jesu-nostri\/","url":"https:\/\/constanceluzzati.com\/index.php\/2019\/03\/07\/membra-jesu-nostri\/","name":"Buxtehude, Membra Jesu nostri - Constance Luzzati","isPartOf":{"@id":"https:\/\/constanceluzzati.com\/#website"},"primaryImageOfPage":{"@id":"https:\/\/constanceluzzati.com\/index.php\/2019\/03\/07\/membra-jesu-nostri\/#primaryimage"},"image":{"@id":"https:\/\/constanceluzzati.com\/index.php\/2019\/03\/07\/membra-jesu-nostri\/#primaryimage"},"thumbnailUrl":"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/03\/1920px-Cimabue_crocifissione_del_transetto_sinistro-1024x737.jpeg","datePublished":"2019-03-07T09:56:40+00:00","dateModified":"2025-06-12T09:26:12+00:00","author":{"@id":"https:\/\/constanceluzzati.com\/#\/schema\/person\/73689fd2f5e312d160436017f117ab8d"},"description":"L'art de lier les paradoxes pour une musique qui exprime l'\u00e9l\u00e9vation dans l'abaissement, et la transcendance \u00e0 travers la faiblesse.","breadcrumb":{"@id":"https:\/\/constanceluzzati.com\/index.php\/2019\/03\/07\/membra-jesu-nostri\/#breadcrumb"},"inLanguage":"fr-FR","potentialAction":[{"@type":"ReadAction","target":["https:\/\/constanceluzzati.com\/index.php\/2019\/03\/07\/membra-jesu-nostri\/"]}]},{"@type":"ImageObject","inLanguage":"fr-FR","@id":"https:\/\/constanceluzzati.com\/index.php\/2019\/03\/07\/membra-jesu-nostri\/#primaryimage","url":"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/03\/1920px-Cimabue_crocifissione_del_transetto_sinistro-1024x737.jpeg","contentUrl":"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/03\/1920px-Cimabue_crocifissione_del_transetto_sinistro-1024x737.jpeg"},{"@type":"BreadcrumbList","@id":"https:\/\/constanceluzzati.com\/index.php\/2019\/03\/07\/membra-jesu-nostri\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/constanceluzzati.com\/"},{"@type":"ListItem","position":2,"name":"Buxtehude, Membra Jesu nostri"}]},{"@type":"WebSite","@id":"https:\/\/constanceluzzati.com\/#website","url":"https:\/\/constanceluzzati.com\/","name":"Constance Luzzati","description":"harpiste, musicologue","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/constanceluzzati.com\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"fr-FR"},{"@type":"Person","@id":"https:\/\/constanceluzzati.com\/#\/schema\/person\/73689fd2f5e312d160436017f117ab8d","name":"cladmin","image":{"@type":"ImageObject","inLanguage":"fr-FR","@id":"https:\/\/constanceluzzati.com\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/8fd812dcfb43a051255c4494719a227e?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/8fd812dcfb43a051255c4494719a227e?s=96&d=mm&r=g","caption":"cladmin"},"url":"https:\/\/constanceluzzati.com\/index.php\/author\/cladmin\/"}]}},"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"","uagb_featured_image_src":{"full":false,"thumbnail":false,"medium":false,"medium_large":false,"large":false,"1536x1536":false,"2048x2048":false},"uagb_author_info":{"display_name":"cladmin","author_link":"https:\/\/constanceluzzati.com\/index.php\/author\/cladmin\/"},"uagb_comment_info":33,"uagb_excerpt":"Tous les param\u00e8tres de l\u2019\u0153uvre sont ambivalents\u00a0: une pl\u00e9nitude sereine et contenue fait contrepoids \u00e0 la puissante expression des affects, [&hellip;]","_links":{"self":[{"href":"https:\/\/constanceluzzati.com\/index.php\/wp-json\/wp\/v2\/posts\/161"}],"collection":[{"href":"https:\/\/constanceluzzati.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/constanceluzzati.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/constanceluzzati.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/constanceluzzati.com\/index.php\/wp-json\/wp\/v2\/comments?post=161"}],"version-history":[{"count":4,"href":"https:\/\/constanceluzzati.com\/index.php\/wp-json\/wp\/v2\/posts\/161\/revisions"}],"predecessor-version":[{"id":8682,"href":"https:\/\/constanceluzzati.com\/index.php\/wp-json\/wp\/v2\/posts\/161\/revisions\/8682"}],"wp:attachment":[{"href":"https:\/\/constanceluzzati.com\/index.php\/wp-json\/wp\/v2\/media?parent=161"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/constanceluzzati.com\/index.php\/wp-json\/wp\/v2\/categories?post=161"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/constanceluzzati.com\/index.php\/wp-json\/wp\/v2\/tags?post=161"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}