{"id":1594,"date":"2016-12-05T15:11:02","date_gmt":"2016-12-05T14:11:02","guid":{"rendered":"https:\/\/ensemblespirituoso.fr\/?page_id=1594"},"modified":"2023-07-14T12:40:13","modified_gmt":"2023-07-14T10:40:13","slug":"leone","status":"publish","type":"page","link":"https:\/\/ensemblespirituoso.fr\/?page_id=1594","title":{"rendered":"6 sonates de Gabriele Leone"},"content":{"rendered":"<!--[if lt IE 9]><script>document.createElement('audio');<\/script><![endif]-->\n\t<div class=\"wp-playlist wp-audio-playlist wp-playlist-light\">\n\t\t\t<div class=\"wp-playlist-current-item\"><\/div>\n\t\t<audio controls=\"controls\" preload=\"none\" width=\"998\"\n\t\t\t><\/audio>\n\t<div class=\"wp-playlist-next\"><\/div>\n\t<div class=\"wp-playlist-prev\"><\/div>\n\t<noscript>\n\t<ol>\n\t\t<li><a href='https:\/\/ensemblespirituoso.fr\/wp-content\/uploads\/2013\/03\/01-SONATA-1-Re-Majeur-Tempo-Giusto.mp3'>Re Majeur- Tempo Giusto<\/a><\/li><li><a href='https:\/\/ensemblespirituoso.fr\/wp-content\/uploads\/2013\/03\/03-SONATA-1-Re-Majeur-Presto-en-Rondeau.mp3'>Re Majeur- Presto en Rondeau<\/a><\/li><li><a href='https:\/\/ensemblespirituoso.fr\/wp-content\/uploads\/2013\/03\/04-SONATA-2-Sol-Majeur-Cantabile.mp3'>Sol Majeur- Cantabile<\/a><\/li><li><a href='https:\/\/ensemblespirituoso.fr\/wp-content\/uploads\/2013\/03\/05-SONATA-2-Sol-Majeur-Allegro.mp3'>Sol Majeur- Allegro<\/a><\/li><li><a href='https:\/\/ensemblespirituoso.fr\/wp-content\/uploads\/2013\/03\/14-SONATA-5-La-Majeur-Larghetto.mp3'>14-SONATA 5 -La Majeur- Larghetto<\/a><\/li><li><a href='https:\/\/ensemblespirituoso.fr\/wp-content\/uploads\/2013\/03\/13-SONATA-5-La-Majeur-Cantabile.mp3'>La Majeur- Cantabile<\/a><\/li><li><a href='https:\/\/ensemblespirituoso.fr\/wp-content\/uploads\/2013\/03\/12-SONATA-4-Si-b-Majeur-Allegro-Assai.mp3'>Si b Majeur- Allegro Assai<\/a><\/li><li><a href='https:\/\/ensemblespirituoso.fr\/wp-content\/uploads\/2013\/03\/09-SONATA-3-Do-Majeur-Presto.mp3'>Do Majeur- Presto<\/a><\/li><li><a href='https:\/\/ensemblespirituoso.fr\/wp-content\/uploads\/2013\/03\/06-SONATA-2-Sol-Majeur-Allegro-Finale.mp3'>Sol Majeur- Allegro Finale<\/a><\/li><li><a href='https:\/\/ensemblespirituoso.fr\/wp-content\/uploads\/2013\/03\/15-SONATA-5-La-Majeur-Allegro.mp3'>La Majeur- Allegro<\/a><\/li><li><a href='https:\/\/ensemblespirituoso.fr\/wp-content\/uploads\/2013\/03\/16-SONATA-6-Re-Majeur-Maestoso-Espressivo.mp3'>Re Majeur- Maestoso Espressivo<\/a><\/li><li><a href='https:\/\/ensemblespirituoso.fr\/wp-content\/uploads\/2013\/03\/18-SONATA-6-Re-Majeur-Minuetto-con-Variazioni.mp3'>Re Majeur- Minuetto con Variazioni<\/a><\/li>\t<\/ol>\n\t<\/noscript>\n\t<script type=\"application\/json\" 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Allegro\\\".\",\"meta\":{\"length_formatted\":\"0:21\"},\"image\":{\"src\":\"https:\\\/\\\/ensemblespirituoso.fr\\\/wp-includes\\\/images\\\/media\\\/audio.png\",\"width\":48,\"height\":64},\"thumb\":{\"src\":\"https:\\\/\\\/ensemblespirituoso.fr\\\/wp-includes\\\/images\\\/media\\\/audio.png\",\"width\":48,\"height\":64}},{\"src\":\"https:\\\/\\\/ensemblespirituoso.fr\\\/wp-content\\\/uploads\\\/2013\\\/03\\\/16-SONATA-6-Re-Majeur-Maestoso-Espressivo.mp3\",\"type\":\"audio\\\/mpeg\",\"title\":\"Re Majeur- Maestoso Espressivo\",\"caption\":\"\",\"description\":\"\\\"Re Majeur- Maestoso Espressivo\\\".\",\"meta\":{\"length_formatted\":\"0:18\"},\"image\":{\"src\":\"https:\\\/\\\/ensemblespirituoso.fr\\\/wp-includes\\\/images\\\/media\\\/audio.png\",\"width\":48,\"height\":64},\"thumb\":{\"src\":\"https:\\\/\\\/ensemblespirituoso.fr\\\/wp-includes\\\/images\\\/media\\\/audio.png\",\"width\":48,\"height\":64}},{\"src\":\"https:\\\/\\\/ensemblespirituoso.fr\\\/wp-content\\\/uploads\\\/2013\\\/03\\\/18-SONATA-6-Re-Majeur-Minuetto-con-Variazioni.mp3\",\"type\":\"audio\\\/mpeg\",\"title\":\"Re Majeur- Minuetto con Variazioni\",\"caption\":\"\",\"description\":\"\\\"Re Majeur- Minuetto con Variazioni\\\".\",\"meta\":{\"length_formatted\":\"3:02\"},\"image\":{\"src\":\"https:\\\/\\\/ensemblespirituoso.fr\\\/wp-includes\\\/images\\\/media\\\/audio.png\",\"width\":48,\"height\":64},\"thumb\":{\"src\":\"https:\\\/\\\/ensemblespirituoso.fr\\\/wp-includes\\\/images\\\/media\\\/audio.png\",\"width\":48,\"height\":64}}]}<\/script>\n<\/div>\n\t\n<p><span style=\"font-size: medium;\">La mandoline conna\u00eet un \u00e2ge d\u2019or dans la seconde moiti\u00e9 du 18<\/span><span style=\"font-size: small;\">\u00e8me<\/span> <span style=\"font-size: medium;\">si\u00e8cle, tout particuli\u00e8rement \u00e0 Paris entre les ann\u00e9es 1750 et 1790. Quelles sont les raisons de ce succ\u00e8s? La r\u00e9ponse se trouve certainement en une conjonction de diff\u00e9rents \u00e9l\u00e9ments.<\/span><img decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-1595\" src=\"https:\/\/ensemblespirituoso.fr\/wp-content\/uploads\/2016\/12\/PV715011-1.jpg\" style=\"float:right;margin:15px\" alt=\"pv715011\" width=\"250\" height=\"250\" srcset=\"https:\/\/ensemblespirituoso.fr\/wp-content\/uploads\/2016\/12\/PV715011-1.jpg 600w, https:\/\/ensemblespirituoso.fr\/wp-content\/uploads\/2016\/12\/PV715011-1-300x300.jpg 300w, https:\/\/ensemblespirituoso.fr\/wp-content\/uploads\/2016\/12\/PV715011-1-150x150.jpg 150w\" sizes=\"(max-width: 250px) 100vw, 250px\" \/><\/p>\n<p align=\"JUSTIFY\"><span style=\"font-size: medium;\">Tout d\u2019abord, le 18<\/span><span style=\"font-size: small;\">\u00e8me<\/span> <span style=\"font-size: medium;\">si\u00e8cle voit l\u2019arriv\u00e9e \u00e0 Paris de nombreuses troupes de th\u00e9\u00e2tre et de musiciens italiens qui s\u2019y produisent \u00e0 l\u2019occasion des foires (Saint-Germain et Saint-Laurent) et qui favorisent l\u2019introduction et le d\u00e9veloppement d\u2019un nouveau style en France. En 1752, les repr\u00e9sentations de l\u2019op\u00e9ra bouffe <\/span><span style=\"font-size: medium;\"><i>La servante ma\u00eetresse <\/i><\/span><span style=\"font-size: medium;\">de Pergol\u00e8se d\u00e9clenchent la querelle des Bouffons, affrontement entre les d\u00e9fenseurs du go\u00fbt fran\u00e7ais et les partisans du nouveau go\u00fbt italien.<\/span><\/p>\n<p align=\"JUSTIFY\"><span style=\"font-size: medium;\">\u00c0 cette \u00e9poque, la mandoline conna\u00eet un grand succ\u00e8s en Italie (en particulier \u00e0 Naples) o\u00f9 elle est utilis\u00e9e en tant qu\u2019instrument d\u2019accompagnement de la voix lors de s\u00e9r\u00e9nades : \u00ab&nbsp;Cet instrument est tr\u00e8s brillant, il est charmant la nuit pour exprimer le douloureux martyre des amants sous les fen\u00eatres d\u2019une ma\u00eetresse. En Italie et en Espagne on n\u2019entend la nuit que des guitares et des mandolines jouer des <\/span><span style=\"font-size: medium;\"><i>notturno <\/i><\/span><span style=\"font-size: medium;\">\u00bb<\/span><a class=\"sdfootnoteanc\" href=\"#sdfootnote1sym\" name=\"sdfootnote1anc\"><sup>1<\/sup><\/a><span style=\"font-size: medium;\">. Cette tradition n\u2019\u00e9chappe pas \u00e0 d\u2019illustres compositeurs tels que Mozart, Gr\u00e9try ou encore Paisiello qui l\u2019utilisent sous cette forme dans leurs op\u00e9ras respectifs <\/span><span style=\"font-size: medium;\"><i>Don Giovanni <\/i><\/span><span style=\"font-size: medium;\">(1787), <\/span><span style=\"font-size: medium;\"><i>L\u2019Amant Jaloux <\/i><\/span><span style=\"font-size: medium;\">(1778) et le <\/span><span style=\"font-size: medium;\"><i>Barbier de S\u00e9ville <\/i><\/span><span style=\"font-size: medium;\">(1782). Mais \u00e0 la m\u00eame \u00e9poque la mandoline \u00e9tait aussi utilis\u00e9e comme instrument soliste et virtuose, ce dont t\u00e9moignent les nombreux concerti \u00e9crits par des compositeurs napolitains, parmi lesquels Carlo Cecere, Emanuele Barbella, Nicolo Conforto.<\/span><\/p>\n<p align=\"JUSTIFY\"><span style=\"font-size: medium;\">En France, des concerts s\u2019adressant \u00e0 un nouveau public apparaissent dans le cadre des salons ou des associations d\u00e9veloppant, notamment dans la bourgeoisie, un int\u00e9r\u00eat pour un r\u00e9pertoire nouveau et pour des formations de musique de chambre ou pour des instruments adapt\u00e9s \u00e0 ces nouveaux lieux plus intimes. Il faut aussi associer la recherche d\u2019un certain exotisme \u00e0 un int\u00e9r\u00eat pour les instruments rares comme la mandoline, la guitare, la musette ou la vielle \u00e0 roue par exemple. Parmi ces nouvelles structures, on peut citer le Concert Spirituel, fond\u00e9 \u00e0 Paris en 1725 par Anne Danican Philidor, dont les activit\u00e9s devaient se poursuivre au palais des Tuileries jusqu\u2019en 1790 et o\u00f9 le premier mandoliniste \u00e0 se produire fut Carlo Sodi en 1750, suivi de Giovanni Cifolelli et <em>Gabriele Leone<\/em> en avril et juin 1760.<\/span><\/p>\n<p align=\"JUSTIFY\"><span style=\"font-size: medium;\">Enfin, le succ\u00e8s du style galant (ou rococo), dans sa qu\u00eate d\u2019une musique plus divertissante, plus simple, qui privil\u00e9gie l\u2019art de l\u2019ornement plut\u00f4t que celui du d\u00e9veloppement, cristallise les influences et les \u00e9l\u00e9ments qui permettent \u00e0 la mandoline de s\u2019inscrire, au sein du r\u00e9pertoire savant, dans ce nouveau paysage musical.<\/span><\/p>\n<p align=\"JUSTIFY\"><span style=\"font-size: medium;\">Cet engouement pour la mandoline et pour la musique italienne attire en France et \u00e0 Paris de nombreux ma\u00eetres de mandoline italiens qui viennent y jouer leurs compositions mais aussi enseigner l\u2019instrument aux enfants de la noblesse (notamment aux jeunes filles).<\/span><\/p>\n<p align=\"JUSTIFY\"><span style=\"font-size: large;\"><b>Gabriele Leone (c. 1725 &#8211; c. 1790)<\/b><\/span><\/p>\n<p align=\"JUSTIFY\"><span style=\"font-size: medium;\">Il est certainement le plus illustre des mandolinistes de son \u00e9poque. Il se produit \u00e0 plusieurs reprises au Concert spirituel puis devient impresario du directeur de l&rsquo;Op\u00e9ra de Londres. De retour \u00e0 Paris, il est ma\u00eetre de mandoline du duc de Chartres (futur Philippe \u00c9galit\u00e9) \u00e0 qui il d\u00e9die en 1768 sa <\/span><span style=\"font-size: medium;\"><i>M\u00e9thode raisonn\u00e9e <\/i><\/span><span style=\"font-size: medium;\">pour mandoline, ouvrage de r\u00e9f\u00e9rence en ce qui concerne la technique instrumentale de l\u2019\u00e9poque. Mais Gabriele Leone reste un personnage myst\u00e9rieux dont on ne poss\u00e8de que tr\u00e8s peu d\u2019\u00e9l\u00e9ments biographiques. C\u2019est finalement sa musique (dont le style et l\u2019\u00e9criture se caract\u00e9risent par une grande virtuosit\u00e9 instrumentale, des mouvements lents expressifs, des recherches d\u2019effets contrast\u00e9s, souvent comiques) qui nous r\u00e9v\u00e8le le caract\u00e8re de ce personnage haut en couleur.<\/span><\/p>\n<p align=\"JUSTIFY\"><span style=\"font-size: medium;\">Le premier recueil de six sonates pour mandoline et basse (publi\u00e9 en 1767 \u00e0 Paris et d\u00e9di\u00e9 au Baron de Bagge) contient la quintessence de son art. Il constitue sans aucun doute l\u2019un des joyaux du r\u00e9pertoire pour mandoline de la seconde moiti\u00e9 du 18<\/span><span style=\"font-size: small;\">\u00e8me<\/span> <span style=\"font-size: medium;\">si\u00e8cle. De la sonate d\u2019introduction jusqu\u2019au feu d\u2019artifice de la derni\u00e8re, L\u00e9one dessine par petites touches successives les paysages contrast\u00e9s et color\u00e9s d\u2019un itin\u00e9raire pittoresque.<\/span><\/p>\n<p align=\"JUSTIFY\"><span style=\"font-size: medium;\">\u00ab Il faut remarquer que la mandoline et le cistre ne sont jamais mieux accompagn\u00e9s que par le clavecin et la Viole d\u2019Orph\u00e9e \u00bb<\/span><a class=\"sdfootnoteanc\" href=\"#sdfootnote2sym\" name=\"sdfootnote2anc\"><sup>2<\/sup><\/a><\/p>\n<p align=\"JUSTIFY\"><span style=\"font-size: medium;\">\u00abLes Italiens m\u00e9prisent les chiffres; la partition m\u00eame leur est peu n\u00e9cessaire; la promptitude et la finesse de leur oreille y suppl\u00e9e\u00bb<\/span><a class=\"sdfootnoteanc\" href=\"#sdfootnote3sym\" name=\"sdfootnote3anc\"><sup>3<\/sup><\/a><span style=\"font-size: medium;\">.<\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"font-size: medium;\">C\u2019est en s\u2019inspirant de ces recommandations et avec un effectif instrumental \u00e9toff\u00e9 et In\u00e9dit (mandoline, clavecin, viole d\u2019Orph\u00e9e ou violoncelle d\u2019amour, guitare baroque et castagnettes), que l\u2019ensemble Spirituoso, initialement compos\u00e9 de mandoline et clavecin pour son premier enregistrement <\/span><span style=\"font-size: medium;\"><i>La Mandoline Baroque <\/i><\/span><span style=\"font-size: medium;\">(PV712061), part \u00e0 la rencontre de <em>Gabriele Leone<\/em>, appel\u00e9 aussi <\/span><span style=\"font-size: medium;\"><b>Leone l\u2019Espagnol.<\/b><\/span><\/p>\n<p><span style=\"font-size: medium;\"><span style=\"font-size: small;\">Florentino Calvo &amp; Maria Lucia Barros<\/span><\/span><\/p>\n<p>&nbsp;<\/p>\n<p><strong>In English:<\/strong><\/p>\n<p style=\"text-align: justify;\">The second half of the 18th century witnessed the golden age of the mandolin, especially in Paris between 1750 and 1790. But what accounts for this popularity? No doubt the answer lies in a convergence of different elements.<\/p>\n<p style=\"text-align: justify;\">First of all, numerous theatre groups and musicians were arriving in Paris from Italy to perform at local fairs, such as Saint-Germain and Saint-Laurent, which encouraged the development of a new musical style in France. In 1752, a performance of Pergolese\u2019s opera buffa The Servant Mistress unleashed the Querelle des bouffons, between those who were defending the French taste and those who preferred the new Italian style.<\/p>\n<p style=\"text-align: justify;\">At this time, the mandolin was already extremely popular in Italy (especially Naples) where it was used to accompany vocal serenades. According to the 1772 preface of Michel Corrette\u2019s Method: \u00ab\u00a0The instrument has a bright sound, and at night, played beneath the mistress window, it offers a charming expression of the pain endured by lovers. In Italy and Spain, the night air is filled with guitars and mandolins playing notturnos.\u00a0\u00bb<\/p>\n<p style=\"text-align: justify;\">Composers like Mozart, Gr\u00e9try and Paisiello used the mandolin to the same effect in Don Giovanni (1787), L\u2019Amant Jaloux (1778) and the Barber of Seville (1782), respectively. The instrument was also used for solo and virtuoso performance, as evidenced in the many concertos written by Neapolitan composers, including Carlo Cecere, Emanuele Barbella, and Nicolo Conforto.<\/p>\n<p style=\"text-align: justify;\">Meanwhile, in France, an eager public began to frequent the bourgeois salons and clubs where this more intimate kind of music was well served by chamber ensembles and instruments adapted to the new setting and repertoire, particularly appreciated by the bourgeoisie. A taste for exoticism probably also played a role in the mandolin\u2019s popularity, as it did for the guitar, the bagpipe and the hurdy-gurdy. Among the new societies was the Concert Spirituel, founded in Paris in 1725 by Anne Danican Philidor, which continued to perform at the Tuileries Palace until 1790. Carlo Sodi was the first mandolinist to play with the ensemble, in 1750, followed by Giovanni Cifolelli and Gabriele Leone in April and June of 1760.<\/p>\n<p style=\"text-align: justify;\">In the end, the gallant (or rococo) style, with its search for a musical form that would amuse, one that was simpler and favoured the art of ornamentation over thematic development, came to dominate the musical landscape. Bringing together all the various strands of influence, it succeeded in positioning the mandolin firmly within the classical repertoire.<\/p>\n<p style=\"text-align: justify;\">Such was the public\u2019s appetite for Italian music and for the mandolin that a number of Italian masters travelled to France; they not only performed their compositions, but also taught the children of the nobility (especially the girls) how to play the mandolin.<\/p>\n<p style=\"text-align: center;\"><strong>GABRIELE LEONE<\/strong><\/p>\n<p style=\"text-align: center;\"><strong>(ca 1725 \u2013 ca 1790)<\/strong><\/p>\n<p style=\"text-align: justify;\">Leone was undoubtedly the most illustrious mandolinist of his day. He performed at the Concert Spirituel and then served as impresario at the London Opera. Returning to Paris, he was named Mandolin Master for the Duc de Chartres (future Philippe \u00c9galit\u00e9) to whom he dedicated his 1768 mandolin Method, acknowledged as the book of reference at that time for instrumental technique. Nonetheless, Gabriele Leone remains a mysterious figure, as little biographical information has survived. Rather it is his music \u2013 characterized by a grand virtuoso style, expressive slow movements, a search for contrasting and sometimes comical effects \u2013 that provides the most vivid and colourful portrait of the man.<\/p>\n<p style=\"text-align: justify;\">His first book of six sonatas for mandolin and bass, published in Paris in 1767 and dedicated to the Baron de Bagge, encapsulates the essence of his art. It marks a highpoint in the mandolin repertoire of the late 18th century. From the opening sonata to the fiery last one, Leone traces a picturesque musical path which, by successive strokes, paints a landscape rich in contrasts and colour.<\/p>\n<p style=\"text-align: justify;\">In the 1772 preface to his Method (a quick guide for learning to play the mandolin), Corrette wrote: \u00ab\u00a0It must be said that there are no better instruments for accompanying the mandolin or the cittern than the harpsichord or the viole d\u2019Orph\u00e9e.\u00a0\u00bb<\/p>\n<p style=\"text-align: justify;\">And according to Jean-Philippe Rameau in his Erreurs sur la musique dans l\u2019Encyclop\u00e9die, 1756-1757: The Italians scorn figured notation; they don\u2019t even need a score; instead they rely on a quick and refined ear.<\/p>\n<p style=\"text-align: justify;\">Inspired by these references, the Spirituoso Ensemble, originally composed of just mandolin and harpsichord for its first recording, La Mandoline Baroque (PV712061), has now expanded to include the viole d\u2019Orph\u00e9e, the violoncello d\u2019amore, baroque guitar and castagnettes as well. With this enhanced instrumentation, our Ensemble is ready to explore the work of Gabriele Leone, also known as <strong>Leone the Spaniard<\/strong>.<\/p>\n<p>Florentino Calvo &amp; Maria Lucia Barros<\/p>\n<p>English translation&nbsp;: Alison Clayson<\/p>\n<p>&nbsp;<\/p>\n<div id=\"sdfootnote1\">\n<p><span style=\"font-size: small;\"><a class=\"sdfootnotesym\" href=\"#sdfootnote1anc\" name=\"sdfootnote1sym\">1<\/a> P<span style=\"font-size: medium;\">r\u00e9face de la m\u00e9thode de Michel Corrette \u00abpour apprendre \u00e0 jouer en tr\u00e8s peu de temps la mandoline\u00bb, 1772.<\/span><\/span><\/p>\n<\/div>\n<div id=\"sdfootnote2\">\n<p><span style=\"font-size: small;\"><a class=\"sdfootnotesym\" href=\"#sdfootnote2anc\" name=\"sdfootnote2sym\">2<\/a>Ibidem<\/span><\/p>\n<\/div>\n<div id=\"sdfootnote3\">\n<p><span style=\"font-size: small;\"><a class=\"sdfootnotesym\" href=\"#sdfootnote3anc\" name=\"sdfootnote3sym\">3<\/a><span style=\"font-size: medium;\">Jean-Philippe Rameau, <\/span><span style=\"font-size: medium;\"><i>Erreurs sur la musique dans l\u2019Encyclop\u00e9die<\/i><\/span><span style=\"font-size: medium;\">, 1756-1757<\/span><\/span><\/p>\n<\/div>\n<h5>Prise de som et mastering: Francis Rotstein<\/h5>\n","protected":false},"excerpt":{"rendered":"<p>La mandoline conna\u00eet un \u00e2ge d\u2019or dans la seconde moiti\u00e9 du 18\u00e8me si\u00e8cle, tout particuli\u00e8rement \u00e0 Paris entre les ann\u00e9es 1750 et 1790. Quelles sont les raisons de ce succ\u00e8s? La r\u00e9ponse se trouve certainement en une conjonction de diff\u00e9rents \u00e9l\u00e9ments. Tout d\u2019abord, le 18\u00e8me si\u00e8cle voit l\u2019arriv\u00e9e \u00e0 Paris de nombreuses troupes de th\u00e9\u00e2tre &hellip; <\/p>\n","protected":false},"author":1,"featured_media":0,"parent":1742,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/ensemblespirituoso.fr\/index.php?rest_route=\/wp\/v2\/pages\/1594"}],"collection":[{"href":"https:\/\/ensemblespirituoso.fr\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/ensemblespirituoso.fr\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/ensemblespirituoso.fr\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/ensemblespirituoso.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1594"}],"version-history":[{"count":4,"href":"https:\/\/ensemblespirituoso.fr\/index.php?rest_route=\/wp\/v2\/pages\/1594\/revisions"}],"predecessor-version":[{"id":2184,"href":"https:\/\/ensemblespirituoso.fr\/index.php?rest_route=\/wp\/v2\/pages\/1594\/revisions\/2184"}],"up":[{"embeddable":true,"href":"https:\/\/ensemblespirituoso.fr\/index.php?rest_route=\/wp\/v2\/pages\/1742"}],"wp:attachment":[{"href":"https:\/\/ensemblespirituoso.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1594"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}