{"id":376,"date":"2019-07-14T22:25:36","date_gmt":"2019-07-14T20:25:36","guid":{"rendered":"http:\/\/constanceluzzati.com\/?p=376"},"modified":"2019-07-14T22:25:38","modified_gmt":"2019-07-14T20:25:38","slug":"lagrime-di-san-pietro","status":"publish","type":"post","link":"https:\/\/constanceluzzati.com\/index.php\/2019\/07\/14\/lagrime-di-san-pietro\/","title":{"rendered":"Lagrime di san Pietro"},"content":{"rendered":"\n<p><\/p>\n\n\n\n<p style=\"color:#04709e\" class=\"has-text-color\">La figure de Pierre en larmes convoque autant les&nbsp;toiles du Greco, de Murillo ou Velasquez, que l\u2019\u0153uvre que Roland de Lassus a compos\u00e9e durant sa derni\u00e8re ann\u00e9e d\u2019existence (1594). Le \u00ab&nbsp;divin Orlande&nbsp;\u00bb s\u2019est appropri\u00e9 20 strophes parmi les vers que Luigi Transillo (1510-1568) a d\u00e9ploy\u00e9s \u00e0 partir des quelques versets des \u00e9vangiles qui racontent le triple reniement de Pierre au moment de l\u2019arrestation de J\u00e9sus. Les madrigaux spirituels ne sont pas des pi\u00e8ces liturgiques, mais des \u0153uvres polyphoniques vocales d\u2019\u00e9dification, sur des po\u00e8mes raffin\u00e9s, destin\u00e9es aux concerts priv\u00e9s aristocratiques. Lassus est pr\u00e9c\u00e9d\u00e9 dans cette veine par Palestrina, Monteverdi et Marenzio, mais il est le premier \u00e0 composer un ensemble aussi cons\u00e9quent de 21 madrigaux con\u00e7us comme un tout.&nbsp;<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<ul class=\"wp-block-gallery columns-3 is-cropped wp-block-gallery-1 is-layout-flex wp-block-gallery-is-layout-flex\"><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"550\" height=\"224\" src=\"http:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/05\/greco-san-pietro.jpg\" alt=\"\" data-id=\"377\" data-link=\"http:\/\/constanceluzzati.com\/?attachment_id=377\" class=\"wp-image-377\" srcset=\"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/05\/greco-san-pietro.jpg 550w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/05\/greco-san-pietro-300x122.jpg 300w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/figure><\/li><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"188\" height=\"268\" src=\"http:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/05\/lagrime-pietro-ribera.jpg\" alt=\"\" data-id=\"378\" data-link=\"http:\/\/constanceluzzati.com\/?attachment_id=378\" class=\"wp-image-378\"\/><\/figure><\/li><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"396\" height=\"500\" src=\"http:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/05\/Diego-Rodriguez-de-Silva-y-Velazquez-The-Tears-of-Saint-Peter-MeisterDrucke-134694.jpg\" alt=\"\" data-id=\"379\" data-link=\"http:\/\/constanceluzzati.com\/?attachment_id=379\" class=\"wp-image-379\" srcset=\"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/05\/Diego-Rodriguez-de-Silva-y-Velazquez-The-Tears-of-Saint-Peter-MeisterDrucke-134694.jpg 396w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/05\/Diego-Rodriguez-de-Silva-y-Velazquez-The-Tears-of-Saint-Peter-MeisterDrucke-134694-238x300.jpg 238w\" sizes=\"(max-width: 396px) 100vw, 396px\" \/><\/figure><\/li><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"640\" height=\"918\" src=\"http:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/05\/San_Pedro_en_l\u00e1grimas_-_Murillo.jpg\" alt=\"\" data-id=\"380\" data-link=\"http:\/\/constanceluzzati.com\/?attachment_id=380\" class=\"wp-image-380\" srcset=\"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/05\/San_Pedro_en_l\u00e1grimas_-_Murillo.jpg 640w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/05\/San_Pedro_en_l\u00e1grimas_-_Murillo-209x300.jpg 209w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/05\/San_Pedro_en_l\u00e1grimas_-_Murillo-600x861.jpg 600w\" sizes=\"(max-width: 640px) 100vw, 640px\" \/><\/figure><\/li><\/ul>\n\n\n\n<p style=\"text-align:center\" class=\"has-text-color has-cyan-bluish-gray-color\">Les larmes de St Pierre par Greco, Ribera, Velasquez, Murillo<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p>L\u2019\u0153uvre de Transillo, tr\u00e8s long po\u00e8me de plus de 900 stances, peut-\u00eatre \u00e9crit pour se faire pardonner son tr\u00e8s licencieux&nbsp;<em>Vendemmiatore<\/em>, date au plus tard de 1550, bien qu\u2019il ait \u00e9t\u00e9 publi\u00e9 ult\u00e9rieurement, au fil de plusieurs r\u00e9\u00e9ditions. Il est donc trop ancien pour suivre les directives du concile de Trente qui n\u2019est alors pas termin\u00e9, mais il a suscit\u00e9 un engouement pour la th\u00e9matique des larmes de Pierre qui, elle, est tr\u00e8s caract\u00e9ristique de la Contre R\u00e9forme.&nbsp;&nbsp;L\u2019\u0153uvre de Lassus, en revanche, a bien \u00e9t\u00e9 compos\u00e9e dans une Bavi\u00e8re d\u00e9vou\u00e9e \u00e0 la R\u00e9forme catholique, o\u00f9 circulent les \u00e9crits traduits des th\u00e9ologiens espagnols tant j\u00e9suites (Loyola) que dominicains (Granada) qui incitent \u00e0 l\u2019examen des consciences. Le th\u00e8me des larmes de Pierre est cher aux artistes de cette Contre-R\u00e9forme pour deux raisons&nbsp;: d\u2019une part la peinture du repentir qu\u2019il met en sc\u00e8ne permet l\u2019identification de celui qui re\u00e7oit l\u2019\u0153uvre \u00e0 Pierre, et plaide pour le sacrement de p\u00e9nitence (confession) pr\u00f4n\u00e9 par les catholiques et refus\u00e9 par les protestants, et d\u2019autre part le pape auquel Lassus d\u00e9die l\u2019\u0153uvre \u00e9tait qualifi\u00e9 d\u2019ant\u00e9christ par Luther, mais \u00ab&nbsp;vrai et l\u00e9gitime successeur de Pierre&nbsp;\u00bb pour les catholiques.&nbsp;<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p>Si les po\u00e8mes contemporains de Torquato Tasso et Guarini dominent le madrigal profane, le raffinement de la po\u00e9sie toscane du&nbsp;<em>trecento<\/em> est tout autant appr\u00e9ci\u00e9, soit directement&nbsp;<em>via<\/em> les po\u00e8mes de P\u00e9trarque, soit sous la plume de n\u00e9o-p\u00e9traquisants comme Pietro Bembo ou Luigi Transillo. Ce dernier conserve le ton de la lyrique amoureuse, la structure des strophes, le vocabulaire, les m\u00e9taphores, mais transforme l\u2019amour humain en adoration christique \u2013 le 6<sup>\u00e8me<\/sup>madrigal effectue explicitement la comparaison :<\/p>\n\n\n\n<p class=\"has-text-color has-background has-small-font-size has-very-dark-gray-color has-very-light-gray-background-color\"><em>Cosi talhor bench\u00e8 profane cose&nbsp;\/ Siano a le sacre d\u2019agguagliarsi indegne \/ Scoprir mirando altrui le voglie ascose \/&nbsp;Suol amator, senza ch\u2019a dir le vegne.&nbsp;\/ Chi dunque esperto sia ne l\u2019ingegnose \/&nbsp;Scole d\u2019amor, a chi no\u2019l prova insegne, \/&nbsp;Come senza aprir bocco, o scriver note&nbsp;\/ Con gli occhi ancora favellar si puote.<\/em><\/p>\n\n\n\n<p class=\"has-background has-small-font-size has-very-light-gray-background-color\"><em>De m\u00eame parfois (bien que les choses profanes \/ Soient indignes d\u2019\u00eatre compar\u00e9es aux choses sacr\u00e9es), \/ L\u2019amant, en regardant l\u2019aim\u00e9e, d\u00e9voile \/ Ses d\u00e9sirs cach\u00e9s sans avoir \u00e0 les dire. \/ Qui pourrait se dire expert des ing\u00e9nieuses \/ \u00c9coles de l\u2019amour, \u00e0 qui l\u2019on ne parviendrait \u00e0 enseigner \/ Comment, sans dire un mot, ni \u00e9crire une ligne, \/ Avec ses yeux, il peut parler encore<\/em><\/p>\n\n\n\n<p>L\u2019\u00e9criture musicale de Lassus est, elle aussi, similaire \u00e0 celle du madrigal profane. Les madrigalismes (les moments o\u00f9 la musique souligne de fa\u00e7on tr\u00e8s claire le sens d\u2019un mot) les plus usuels sont largement employ\u00e9s, par exemple sur l\u2019id\u00e9e de fuite o\u00f9 les voix se sauvent \u00e0 vive allure en \u00e9cho (n\u00b08 et 12), lors de l\u2019\u00e9vocation de la mort par les voix et tessitures les plus graves (n\u00b012 et 16), sur les pleurs qui sont exprim\u00e9s par des dissonances cr\u00e9\u00e9es par la persistance d\u2019une note de l\u2019accord pr\u00e9c\u00e9dent sur l\u2019accord suivant, ou encore pour faire entendre la vie et la paix \u00e9ternelle, figur\u00e9es par l\u2019allongement des sections ou des dur\u00e9es (n\u00b015, 16).<\/p>\n\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-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=\"Orlandus Lassus: Lagrimi Di San Pietro - O Vita Troppo Real\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/gSTZexlDowM?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><br><\/p>\n\n\n\n<p>La musique de Lassus suit le texte vers apr\u00e8s vers&nbsp;; chaque vers est dot\u00e9 d\u2019un motif musical propre, mis en perspective de mani\u00e8re toujours renouvell\u00e9e par la polyphonie. Lassus modifie \u00e0 l\u2019occasion l\u2019\u00e9quilibre du po\u00e8me et infl\u00e9chit son sens en amplifiant un vers \u2013 souvent le dernier (n\u00b08), mais il ne fait presque jamais se superposer des vers diff\u00e9rents, et ne modifie pas la structure des strophes, \u00e0 la diff\u00e9rence de ce que font les g\u00e9n\u00e9rations suivantes dans les cours les plus modernes d\u2019Italie. En revanche, il saisit l\u2019occasion lorsque le po\u00e8me r\u00e9p\u00e8te un vers, r\u00e9p\u00e9tant le motif li\u00e9 et cr\u00e9ant ainsi une structure musicale non lin\u00e9aire (n\u00b015). La musique est donc \u00e9troitement li\u00e9e au sens des mots, ce qui fait dire au chef Philippe Herreweghe que l\u2019on perd les trois quarts de l\u2019\u0153uvre si on l\u2019\u00e9coute sans en comprendre le texte.&nbsp;&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-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=\"Orlande de Lassus - Lagrime di San Pietro: XV. Vattene vita va\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/oatz4AgKOl8?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><br><\/p>\n\n\n\n<p>D\u2019autres aspects de l\u2019\u0153uvre lui sont particuliers, et la distinguent des \u0153uvres similaires qui lui sont contemporaines. Sa composition en un ensemble coh\u00e9rent de 21 madrigaux \u2013 on pourrait presque parler de cycle si le terme n\u2019\u00e9tait anachronique \u2013 dont les modes sont ordonn\u00e9s est tr\u00e8s innovante. Il s\u2019agit donc bien d\u2019une unit\u00e9 musicale, et pas d\u2019une juxtaposition de pi\u00e8ces. Le chiffre sept, symbole de l\u2019accomplissement divin dans le Bible, est pr\u00e9sent \u00e0 la fois dans le nombre des voix et dans la structure en 3 fois 7 madrigaux. La polyphonie \u00e0 7 voix n\u2019est pas in\u00e9dite \u2013 on trouve m\u00eame davantage, chez Palestrina notamment, mais elle n\u2019est pas standard pour des madrigaux. Les trois parties sont construites autour de trois th\u00e8mes po\u00e9tiques principaux&nbsp;: le regard du Christ, les larmes de Pierre, et le refus de l\u2019attachement \u00e0 la vie terrestre. Les yeux de J\u00e9sus, dans lesquels Pierre voit sa faute, sont largement mis en valeur par la musique&nbsp;: ils sont arcs et fl\u00e8ches (n\u00b02), prise de conscience (n\u00b03 et 4), miroir de v\u00e9rit\u00e9 (n\u00b05), paroles muettes de l\u2019amant (n\u00b06), condens\u00e9 des sens, langue et ou\u00efe (n\u00b07).<\/p>\n\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-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=\"Lagrime di San Pietro (Ogni occhio del Signor)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/1c18Uctt3fU?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><br><\/p>\n\n\n\n<p>&nbsp;La deuxi\u00e8me section s\u2019ouvre par ce que Pierre imagine que le regard du Christ lui dit, puis le motif des larmes est d\u00e9velopp\u00e9 \u00e0 partir du 10<sup>\u00e8me <\/sup>madrigal, avec de tr\u00e8s belles m\u00e9taphores. Le 14<sup>\u00e8me <\/sup>madrigal, qui cl\u00f4t ce 2<sup>\u00e8me <\/sup>volet, est un madrigal de d\u00e9r\u00e9liction, o\u00f9 Pierre est assomm\u00e9 par la douleur. La troisi\u00e8me partie explore la \u00ab&nbsp;faute&nbsp;\u00bb de Pierre sous l\u2019angle de l\u2019attachement \u00e0 la vie terrestre qui en est la cause, et qui est pour lui source de perdition. Il associe ce manque de clairvoyance \u00e0 son grand \u00e2ge dans les derniers madrigaux (n\u00b018, 19), que Lassus met en musique de fa\u00e7on marquante&nbsp;: les chromatismes indirects sur la \u00ab&nbsp;source du salut&nbsp;\u00bb (n\u00b019) attirent immanquablement l\u2019oreille de l\u2019auditeur. <\/p>\n\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-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=\"Lagrime di San Pietro (Tears of San Pietro) : 19a parte - Queste opre e piu\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/Zx8CbKVHJvE?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><br><\/p>\n\n\n\n<p>Lassus utilise la polyphonie de mani\u00e8re \u00e0 faire ressortir certains mots, non seulement de mani\u00e8re classique, en faisant chanter toutes les voix de fa\u00e7on simultan\u00e9e (\u00ab&nbsp;<em>meravigliare fe&nbsp;l\u2019ombre<\/em>&nbsp;\u00bb, n\u00b017), mais \u00e9galement en modifiant la texture de l\u2019ensemble vocal. \u00c0 la fin du n\u00b019, la peur de mourir est chant\u00e9e avec seulement une partie des voix, \u00e0 l\u2019int\u00e9rieur d\u2019un ambitus relativement restreint, qui s\u2019\u00e9largit sur la n\u00e9gation de la vie, avec des imitations serr\u00e9es qui envahissent la polyphonies, utilisent toutes les voix, et \u00e9largissent l\u2019ambitus. Ce choix musical peut sembler paradoxal, et il est signifiant&nbsp;: Lassus nous fait entendre la crainte de la mort comme porteuse d\u2019un r\u00e9tr\u00e9cissement de l\u2019\u00eatre, et le reniement d\u2019une vie d\u00e9chue comme porteuse de vie augment\u00e9e. La 21<sup>\u00e8me <\/sup>pi\u00e8ce est \u00e9tonnante&nbsp;tout d\u2019abord parce que c\u2019est ce n\u2019est plus Pierre qui s\u2019exprime, mais le Christ, mais surtout parce que ses mots, qui disent sa douleur physique et morale, enfoncent encore davantage Pierre, sans une parole de rel\u00e8vement ni de consolation. On peut alors se demander si ce n\u2019est pas l\u00e0 encore Pierre qui continue \u00e0 creuser son repentir, imaginant ce que pourraient \u00eatre les paroles de condamnation du nazar\u00e9en \u00e0 son \u00e9gard, refusant de s\u2019accorder lui-m\u00eame la r\u00e9demption \u2013 tout comme Lassus, qui \u00e9crit dans la pr\u00e9face que cette \u0153uvre est&nbsp;<em>per la sua propria devotione<\/em>, refuse de le faire.<\/p>\n\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-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=\"Lagrime di San Pietro (Vide homo)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/tTO8n8dyKqY?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","protected":false},"excerpt":{"rendered":"<p>La figure de Pierre en larmes convoque autant les&nbsp;toiles du Greco, de Murillo ou Velasquez, que l\u2019\u0153uvre que Roland de [&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":[133,135,132,138,134,136,131,139,130,137],"class_list":["post-376","post","type-post","status-publish","format-standard","hentry","category-musique-ancienne-et-religieuse","category-musique-religieuse","tag-contre-reforme","tag-greco","tag-lagrime-di-san-pietro","tag-los-angeles-master-chorale","tag-madrigal-spirituel","tag-murillo","tag-orlando-di-lasso","tag-peter-sellars","tag-roland-de-lassus","tag-velasquez"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v25.2 - 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