{"id":1710,"date":"2023-03-31T11:05:39","date_gmt":"2023-03-31T09:05:39","guid":{"rendered":"https:\/\/constanceluzzati.com\/?p=1710"},"modified":"2023-03-31T11:13:01","modified_gmt":"2023-03-31T09:13:01","slug":"lecons-tenebres","status":"publish","type":"post","link":"https:\/\/constanceluzzati.com\/index.php\/2023\/03\/31\/lecons-tenebres\/","title":{"rendered":"Charpentier. L&rsquo;humanit\u00e9 dans les T\u00e9n\u00e8bres"},"content":{"rendered":"\n<figure class=\"wp-block-image aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"468\" height=\"263\" src=\"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2023\/03\/3-De-la-Tour-c.1642-edited.jpg\" alt=\"\" class=\"wp-image-1716\" srcset=\"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2023\/03\/3-De-la-Tour-c.1642-edited.jpg 468w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2023\/03\/3-De-la-Tour-c.1642-edited-300x169.jpg 300w\" sizes=\"(max-width: 468px) 100vw, 468px\" \/><\/figure>\n\n\n\n<p>Pour le public parisien de la fin du XVII<sup>e<\/sup>&nbsp;si\u00e8cle, le Car\u00eame est un temps maigre, \u00e0 table comme au concert&nbsp;: point de th\u00e9\u00e2tre pendant 40 jours, mais des concerts spirituels vocaux et instrumentaux&#8230; o\u00f9 le m\u00eame public que celui qui se rend aux th\u00e9\u00e2tres entend les m\u00eames artistes, mais dans un r\u00e9pertoire diff\u00e9rent. La semaine qui pr\u00e9c\u00e8de P\u00e2ques est le point culminant de ce temps de sobri\u00e9t\u00e9&nbsp;: plus de cloches ni d\u2019orgues, mais des Le\u00e7ons de T\u00e9n\u00e8bres qui mettent en musique le texte des offices de la Semaine Sainte. Le t\u00e9moignage de Lecerf de la Vi\u00e9ville jette cependant le doute sur la nature recueillie des offices en question&nbsp;:&nbsp;<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>&nbsp;Quel spectacle dans le ch\u0153ur ou dans le jub\u00e9 d\u2019une \u00e9glise que cinq ou six figures d\u00e9braill\u00e9es, habill\u00e9es de diverses fa\u00e7ons et v\u00e9ritablement comme des com\u00e9diens enfarin\u00e9s jusqu\u2019\u00e0 la ceinture, tournant sans cesse la t\u00eate, prenant du tabac, riant, causant et grima\u00e7ant&nbsp;!&nbsp;&nbsp;[&#8230;]&nbsp;<\/p>\n<\/blockquote>\n\n\n\n<p>L\u2019app\u00e9tit du public pour ces moments de musique, auxquels on ne va qu\u2019\u00e0 la condition d\u2019\u00eatre \u00ab&nbsp;s\u00fbr que les&nbsp;le\u00e7ons seront travaill\u00e9es de la main d\u2019un compositeur fameux&nbsp;\u00bb, pousse \u00e0 la composition de pages de musique extraordinaires, qui allient une forme de retenue \u00e0 la plus grande expressivit\u00e9.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">M\u00e9ditations pour le Car\u00eame<\/h2>\n\n\n\n<p>Les&nbsp;<em>M\u00e9ditations pour le Car\u00eame<\/em>&nbsp;sont compos\u00e9es pour le m\u00eame effectif de solistes que certaines des&nbsp;<em>Le\u00e7ons<\/em> avec lesquelles elles on les associe volontiers&nbsp;: haute-contre (t\u00e9nor aigu), taille (t\u00e9nor grave), et basse. Il s\u2019agit de dix courtes pi\u00e8ces qui mettent en sc\u00e8ne le r\u00e9cit de la Passion, formant en quelque sorte un chemin de croix musical. Certains des textes sont librement \u00e9labor\u00e9s, d\u2019autres directement tir\u00e9s des \u00c9vangiles (4-6), ou de l\u2019Ancien Testament (10). Leur contexte de cr\u00e9ation n\u2019est pas connu&nbsp;; il n\u2019est pas davantage possible de d\u00e9terminer avec certitude si elles ont \u00e9t\u00e9 envisag\u00e9es comme un tout, si elles ont \u00e9t\u00e9 pens\u00e9es pour se glisser, de fa\u00e7on isol\u00e9e, au sein d\u2019une longue pr\u00e9dication de Car\u00eame, ou s\u2019int\u00e9grer aux stations.<\/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=\"Charpentier - M\u00e9ditations pour le Car\u00eame - Ensemble Les Surprises\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/SqscCwg7wHU?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<div style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p>Charpentier fait varier les textures des voix solistes&nbsp;:&nbsp;<em>Ecce Judas<\/em>&nbsp;est ainsi articul\u00e9 par deux ensembles qui entourent un long solo de taille, tandis que le reniement de Pierre (<em>Cum cenasset<\/em>) est presque une sc\u00e8ne dialogu\u00e9e. Il \u00e9tire les lignes vocales de fa\u00e7on plus sensuelle qu\u2019\u00e9th\u00e9r\u00e9e, densifiant le discours par des chromatismes et retards qui am\u00e8nent les voix \u00e0 se rencontrer en produisant des superpositions aussi douloureuses que d\u00e9lectables, par exemple dans la derni\u00e8re phrase de&nbsp;<em>Sicut pullus<\/em>.<\/p>\n\n\n\n<figure class=\"wp-block-embed aligncenter 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=\"M\u00e9ditations pour le Car\u00eame: Tristis est anima mea, H. 382\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/bEjsmixkcbs?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>Charpentier se distingue par sa capacit\u00e9 \u00e0 tirer un profit expressif de l\u2019\u00e9tirement des sons comme des phrases musicales. Cela saisit l\u2019auditeur sur le \u00ab&nbsp;<em>immolatus<\/em>&nbsp;\u00bb de&nbsp;<em>Tristis est<\/em>, et dans&nbsp;<em>Tenebrae factae sunt<\/em>, o\u00f9 la tension enfle et d\u00e9cro\u00eet sans que jamais le fil ne se rompe. Le compositeur, lui-m\u00eame chanteur, compose des solos pour sa propre tessiture (haute-contre), suspendus au-dessus du vide, qui font entendre \u00e0 la fois l\u2019humaine fragilit\u00e9 (du Christ qui en appelle au P\u00e8re dans<em>&nbsp;Tenebrae factae sunt<\/em>) et son \u00e9l\u00e9vation&nbsp;: la voix, au d\u00e9but de&nbsp;<em>Sola vivebat<\/em>, suit une ligne ascendante qui semble litt\u00e9ralement aspir\u00e9e vers le haut.<\/p>\n\n\n\n<p><\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Le\u00e7ons de T\u00e9n\u00e8bres<\/h2>\n\n\n\n<p>Charpentier compose plus de trente Le\u00e7ons entre 1670 et 1692, dont il ne subsiste pas de cycle complet. Les offices pour lesquels elles sont compos\u00e9es se tiennent, dans les monast\u00e8res, au c\u0153ur de la nuit, mais sont, dans les \u00e9glises, anticip\u00e9s au soir pr\u00e9c\u00e9dent. Ils sont tr\u00e8s d\u00e9velopp\u00e9s, contenant trois nocturnes, chacun constitu\u00e9 de 3 psaumes avec antienne, et de trois le\u00e7ons suivies chacune d\u2019un r\u00e9pons. Les le\u00e7ons qui sont mises en musiques, tir\u00e9es des lamentations de J\u00e9r\u00e9mie, sont chant\u00e9es dans le premier nocturne. <\/p>\n\n\n\n<div class=\"wp-block-media-text alignwide is-stacked-on-mobile\"><figure class=\"wp-block-media-text__media\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"683\" src=\"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2023\/03\/Chandelier-de-Tenebres-1024x683.jpg\" alt=\"\" class=\"wp-image-1711 size-full\" srcset=\"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2023\/03\/Chandelier-de-Tenebres-1024x683.jpg 1024w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2023\/03\/Chandelier-de-Tenebres-300x200.jpg 300w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2023\/03\/Chandelier-de-Tenebres-768x512.jpg 768w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2023\/03\/Chandelier-de-Tenebres-1536x1024.jpg 1536w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2023\/03\/Chandelier-de-Tenebres-600x400.jpg 600w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2023\/03\/Chandelier-de-Tenebres.jpg 2048w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure><div class=\"wp-block-media-text__content\">\n<p>Les le\u00e7ons qui sont mises en musiques, tir\u00e9es des lamentations de J\u00e9r\u00e9mie, sont chant\u00e9es dans le premier nocturne. La liturgie de t\u00e9n\u00e8bres est spectaculaire, tant dans sa dimension musicale que dans sa dimension visuelle\u00a0: les cierges du chandelier sont \u00e9teints les uns apr\u00e8s les autres, jusqu\u2019\u00e0 ce qu\u2019un seul subsiste et qu\u2019il soit cach\u00e9 avant de revenir illuminer.  <\/p>\n<\/div><\/div>\n\n\n\n<p>Sa beaut\u00e9 rend l\u2019office mondain, ce qui est d\u00e9plor\u00e9 par certains commentateurs contemporains de Charpentier (\u00ab\u00a0on change en divertissement ce qui n\u2019est \u00e9tabli que pour produire en l\u2019\u00e2me des chr\u00e9tiens une sainte et salutaire tristesse\u00a0\u00bb), mais favorise le d\u00e9veloppement du r\u00e9pertoire qui profite de cette exposition.<\/p>\n\n\n\n<div style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p>Si les Le\u00e7ons compos\u00e9es dans les ann\u00e9es 1680 sont tr\u00e8s orn\u00e9es, dans la droite ligne de celles de Lambert et Couperin, celles des ann\u00e9es 1690 sont plus retenues\u00a0: les fameuses lettres h\u00e9bra\u00efques ne sont plus vocalis\u00e9es que sur quelques notes. Les parties confi\u00e9es aux instruments, fl\u00fbtes et violons notamment, sont d\u2019une grande richesse\u00a0: pr\u00e9ludes, interludes, dialogues entre instrument et voix abondent, notamment dans la Le\u00e7on du Jeudi, et portent le discours musical autant que la voix. <\/p>\n\n\n\n<div class=\"wp-block-media-text alignwide has-media-on-the-right is-stacked-on-mobile\"><div class=\"wp-block-media-text__content\">\n<p>La Le\u00e7on du Vendredi tire parti du trio vocal pour faire se superposer des lignes chromatiques, g\u00e9n\u00e9rant ainsi des dissonances \u00e0 foisons, qui tendent la polyphonie vers chacune de leur r\u00e9solution. Le contraste avec les moments o\u00f9 la m\u00e9lodie se fige, comme sur le \u00ab\u00a0<em>in animabus<\/em>\u00a0\u00bb, renforce encore l\u2019effet produit par ces lignes sinueuses. \u00ab\u00a0<em>Mulieres in Sion<\/em>\u00a0\u00bb conjugue les deux\u00a0: le chromatisme descendant est tellement ralenti, sur des notes r\u00e9p\u00e9t\u00e9es, qu\u2019il sonne presque comme un glas, avant que le \u00ab\u00a0<em>Jerusalem<\/em>\u00a0\u00bb en double ch\u0153ur ne pacifie la conclusion de la Le\u00e7on.<\/p>\n<\/div><figure class=\"wp-block-media-text__media\"><img loading=\"lazy\" decoding=\"async\" width=\"657\" height=\"1024\" src=\"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2023\/03\/Melanges_autographes_-_volume_23_...Charpentier_Marc_btv1b7400200j_110-657x1024.jpeg\" alt=\"\" class=\"wp-image-1713 size-full\" srcset=\"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2023\/03\/Melanges_autographes_-_volume_23_...Charpentier_Marc_btv1b7400200j_110-657x1024.jpeg 657w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2023\/03\/Melanges_autographes_-_volume_23_...Charpentier_Marc_btv1b7400200j_110-192x300.jpeg 192w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2023\/03\/Melanges_autographes_-_volume_23_...Charpentier_Marc_btv1b7400200j_110-768x1198.jpeg 768w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2023\/03\/Melanges_autographes_-_volume_23_...Charpentier_Marc_btv1b7400200j_110-985x1536.jpeg 985w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2023\/03\/Melanges_autographes_-_volume_23_...Charpentier_Marc_btv1b7400200j_110-600x936.jpeg 600w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2023\/03\/Melanges_autographes_-_volume_23_...Charpentier_Marc_btv1b7400200j_110.jpeg 1004w\" sizes=\"(max-width: 657px) 100vw, 657px\" \/><\/figure><\/div>\n\n\n\n<div style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-embed aligncenter 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=\"3 Tenebrae lessons: Troiseme lecon du vendredi, H. 137\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/b1U1KKD8R0c?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>Charpentier indique dans son manuscrit la raison prosa\u00efque pour laquelle il n\u2019a pas achev\u00e9 la mise en musique de tous les r\u00e9pons du&nbsp;<em>Triduum<\/em>&nbsp;pascal, interrompue apr\u00e8s le 9<sup>\u00e8me<\/sup>&nbsp;: \u00ab&nbsp;&nbsp;je n\u2019ai pas achev\u00e9 les autres dix-huit r\u00e9pons \u00e0 cause du changement du br\u00e9viaire&nbsp;\u00bb. Le nouveau recueil de Harlay (1680) modifie et d\u00e9place les textes, et l\u2019initiative de Charpentier demeure en suspens. Il revient cependant au genre dans les ann\u00e9es 1690, pour des r\u00e9pons qui ont chacun un effectif diff\u00e9rent.&nbsp;<\/p>\n\n\n\n<div class=\"wp-block-media-text alignwide is-stacked-on-mobile\"><figure class=\"wp-block-media-text__media\"><img loading=\"lazy\" decoding=\"async\" width=\"729\" height=\"1024\" src=\"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2023\/03\/crucifixion_by_rembrandt_1631_s-vincent_du_mas-dagenais-729x1024.jpg\" alt=\"\" class=\"wp-image-1714 size-full\" srcset=\"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2023\/03\/crucifixion_by_rembrandt_1631_s-vincent_du_mas-dagenais-729x1024.jpg 729w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2023\/03\/crucifixion_by_rembrandt_1631_s-vincent_du_mas-dagenais-214x300.jpg 214w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2023\/03\/crucifixion_by_rembrandt_1631_s-vincent_du_mas-dagenais-768x1078.jpg 768w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2023\/03\/crucifixion_by_rembrandt_1631_s-vincent_du_mas-dagenais-1094x1536.jpg 1094w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2023\/03\/crucifixion_by_rembrandt_1631_s-vincent_du_mas-dagenais-600x842.jpg 600w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2023\/03\/crucifixion_by_rembrandt_1631_s-vincent_du_mas-dagenais.jpg 1218w\" sizes=\"(max-width: 729px) 100vw, 729px\" \/><\/figure><div class=\"wp-block-media-text__content\">\n<p><em>Tenebrae factae sunt<\/em>, qui est chant\u00e9 imm\u00e9diatement apr\u00e8s la Le\u00e7on du Jeudi, met en musique le m\u00eame r\u00e9cit que la m\u00e9ditation H 386, cette fois pour une basse soliste. La figuration de chaque mot est saisissante, et d\u2019une puissante efficacit\u00e9 rh\u00e9torique&nbsp;: les t\u00e9n\u00e8bres dans le grave de la voix, le \u00ab&nbsp;<em>Jesu<\/em>&nbsp;\u00bb presque fragile dans l\u2019aigu de la tessiture, les superpositions et successions de sons inou\u00efes dans les parties instrumentales, les silences spectaculaires, les harmonies descendantes d\u00e9pressives&#8230; Chaque mesure semble compos\u00e9e pour tirer les larmes de l\u2019auditeur, l\u2019\u00e9mouvoir profond\u00e9ment et lui faire entendre, ressentir m\u00eame, la souffrance de l\u2019humanit\u00e9 agonisante.<\/p>\n<\/div><\/div>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Pour le public parisien de la fin du XVIIe&nbsp;si\u00e8cle, le Car\u00eame est un temps maigre, \u00e0 table comme au concert&nbsp;: [&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":[8,40,178],"tags":[295,294,293,228,296,289,291,290,297,292],"class_list":["post-1710","post","type-post","status-publish","format-standard","hentry","category-musique-ancienne-et-religieuse","category-musique-religieuse","category-musique-vocale","tag-arts-flo","tag-basse","tag-careme","tag-charpentier-2","tag-concert-spirituel","tag-lecons","tag-meditations","tag-repons","tag-semaine-sainte","tag-tenebres"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v25.2 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Charpentier. L&#039;humanit\u00e9 dans les T\u00e9n\u00e8bres - Constance Luzzati<\/title>\n<meta name=\"description\" content=\"Silences spectaculaires et harmonies d\u00e9pressives transforment l&#039;office mondain en moment de v\u00e9rit\u00e9, o\u00f9 la souffrance humaine se fait entendre.\" \/>\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\/2023\/03\/31\/lecons-tenebres\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Charpentier. L&#039;humanit\u00e9 dans les T\u00e9n\u00e8bres\" \/>\n<meta property=\"og:description\" content=\"Silences spectaculaires et harmonies d\u00e9pressives transforment l&#039;office mondain en moment de v\u00e9rit\u00e9, o\u00f9 la souffrance humaine se fait entendre.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/constanceluzzati.com\/index.php\/2023\/03\/31\/lecons-tenebres\/\" \/>\n<meta property=\"og:site_name\" content=\"Constance Luzzati\" \/>\n<meta property=\"article:published_time\" content=\"2023-03-31T09:05:39+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-03-31T09:13:01+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2023\/03\/Capture-decran-2023-03-31-a-10.53.36.png\" \/>\n\t<meta property=\"og:image:width\" content=\"2788\" \/>\n\t<meta property=\"og:image:height\" content=\"1318\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\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\/2023\/03\/31\/lecons-tenebres\/\",\"url\":\"https:\/\/constanceluzzati.com\/index.php\/2023\/03\/31\/lecons-tenebres\/\",\"name\":\"Charpentier. L'humanit\u00e9 dans les T\u00e9n\u00e8bres - Constance Luzzati\",\"isPartOf\":{\"@id\":\"https:\/\/constanceluzzati.com\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/constanceluzzati.com\/index.php\/2023\/03\/31\/lecons-tenebres\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/constanceluzzati.com\/index.php\/2023\/03\/31\/lecons-tenebres\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2023\/03\/3-De-la-Tour-c.1642-edited.jpg\",\"datePublished\":\"2023-03-31T09:05:39+00:00\",\"dateModified\":\"2023-03-31T09:13:01+00:00\",\"author\":{\"@id\":\"https:\/\/constanceluzzati.com\/#\/schema\/person\/73689fd2f5e312d160436017f117ab8d\"},\"description\":\"Silences spectaculaires et harmonies d\u00e9pressives transforment l'office mondain en moment de v\u00e9rit\u00e9, o\u00f9 la souffrance humaine se fait entendre.\",\"breadcrumb\":{\"@id\":\"https:\/\/constanceluzzati.com\/index.php\/2023\/03\/31\/lecons-tenebres\/#breadcrumb\"},\"inLanguage\":\"fr-FR\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/constanceluzzati.com\/index.php\/2023\/03\/31\/lecons-tenebres\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"fr-FR\",\"@id\":\"https:\/\/constanceluzzati.com\/index.php\/2023\/03\/31\/lecons-tenebres\/#primaryimage\",\"url\":\"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2023\/03\/3-De-la-Tour-c.1642-edited.jpg\",\"contentUrl\":\"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2023\/03\/3-De-la-Tour-c.1642-edited.jpg\",\"width\":468,\"height\":263},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/constanceluzzati.com\/index.php\/2023\/03\/31\/lecons-tenebres\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/constanceluzzati.com\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Charpentier. L&rsquo;humanit\u00e9 dans les T\u00e9n\u00e8bres\"}]},{\"@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":"Charpentier. L'humanit\u00e9 dans les T\u00e9n\u00e8bres - Constance Luzzati","description":"Silences spectaculaires et harmonies d\u00e9pressives transforment l'office mondain en moment de v\u00e9rit\u00e9, o\u00f9 la souffrance humaine se fait entendre.","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\/2023\/03\/31\/lecons-tenebres\/","og_locale":"fr_FR","og_type":"article","og_title":"Charpentier. L'humanit\u00e9 dans les T\u00e9n\u00e8bres","og_description":"Silences spectaculaires et harmonies d\u00e9pressives transforment l'office mondain en moment de v\u00e9rit\u00e9, o\u00f9 la souffrance humaine se fait entendre.","og_url":"https:\/\/constanceluzzati.com\/index.php\/2023\/03\/31\/lecons-tenebres\/","og_site_name":"Constance Luzzati","article_published_time":"2023-03-31T09:05:39+00:00","article_modified_time":"2023-03-31T09:13:01+00:00","og_image":[{"width":2788,"height":1318,"url":"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2023\/03\/Capture-decran-2023-03-31-a-10.53.36.png","type":"image\/png"}],"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\/2023\/03\/31\/lecons-tenebres\/","url":"https:\/\/constanceluzzati.com\/index.php\/2023\/03\/31\/lecons-tenebres\/","name":"Charpentier. L'humanit\u00e9 dans les T\u00e9n\u00e8bres - Constance Luzzati","isPartOf":{"@id":"https:\/\/constanceluzzati.com\/#website"},"primaryImageOfPage":{"@id":"https:\/\/constanceluzzati.com\/index.php\/2023\/03\/31\/lecons-tenebres\/#primaryimage"},"image":{"@id":"https:\/\/constanceluzzati.com\/index.php\/2023\/03\/31\/lecons-tenebres\/#primaryimage"},"thumbnailUrl":"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2023\/03\/3-De-la-Tour-c.1642-edited.jpg","datePublished":"2023-03-31T09:05:39+00:00","dateModified":"2023-03-31T09:13:01+00:00","author":{"@id":"https:\/\/constanceluzzati.com\/#\/schema\/person\/73689fd2f5e312d160436017f117ab8d"},"description":"Silences spectaculaires et harmonies d\u00e9pressives transforment l'office mondain en moment de v\u00e9rit\u00e9, o\u00f9 la souffrance humaine se fait entendre.","breadcrumb":{"@id":"https:\/\/constanceluzzati.com\/index.php\/2023\/03\/31\/lecons-tenebres\/#breadcrumb"},"inLanguage":"fr-FR","potentialAction":[{"@type":"ReadAction","target":["https:\/\/constanceluzzati.com\/index.php\/2023\/03\/31\/lecons-tenebres\/"]}]},{"@type":"ImageObject","inLanguage":"fr-FR","@id":"https:\/\/constanceluzzati.com\/index.php\/2023\/03\/31\/lecons-tenebres\/#primaryimage","url":"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2023\/03\/3-De-la-Tour-c.1642-edited.jpg","contentUrl":"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2023\/03\/3-De-la-Tour-c.1642-edited.jpg","width":468,"height":263},{"@type":"BreadcrumbList","@id":"https:\/\/constanceluzzati.com\/index.php\/2023\/03\/31\/lecons-tenebres\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/constanceluzzati.com\/"},{"@type":"ListItem","position":2,"name":"Charpentier. L&rsquo;humanit\u00e9 dans les T\u00e9n\u00e8bres"}]},{"@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":14,"uagb_excerpt":"Pour le public parisien de la fin du XVIIe&nbsp;si\u00e8cle, le Car\u00eame est un temps maigre, \u00e0 table comme au concert&nbsp;: [&hellip;]","_links":{"self":[{"href":"https:\/\/constanceluzzati.com\/index.php\/wp-json\/wp\/v2\/posts\/1710"}],"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=1710"}],"version-history":[{"count":2,"href":"https:\/\/constanceluzzati.com\/index.php\/wp-json\/wp\/v2\/posts\/1710\/revisions"}],"predecessor-version":[{"id":1723,"href":"https:\/\/constanceluzzati.com\/index.php\/wp-json\/wp\/v2\/posts\/1710\/revisions\/1723"}],"wp:attachment":[{"href":"https:\/\/constanceluzzati.com\/index.php\/wp-json\/wp\/v2\/media?parent=1710"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/constanceluzzati.com\/index.php\/wp-json\/wp\/v2\/categories?post=1710"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/constanceluzzati.com\/index.php\/wp-json\/wp\/v2\/tags?post=1710"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}