{"id":361,"date":"2008-12-06T16:14:08","date_gmt":"2008-12-06T14:14:08","guid":{"rendered":"http:\/\/www.langages.ch\/blog\/?p=361"},"modified":"2018-01-02T18:50:46","modified_gmt":"2018-01-02T17:50:46","slug":"pedro-ximenes-abril-tirado-1780-1856","status":"publish","type":"post","link":"https:\/\/www.carillons.ch\/blog\/pedro-ximenes-abril-tirado-1780-1856\/","title":{"rendered":"PEDRO XIMENES ABRIL TIRADO (1780-1856)"},"content":{"rendered":"

\"The<\/p>\n

PEDRO XIMENES ABRIL TIRADO (1780-1856)<\/strong><\/p>\n

Pedro Ximenes Abril Tirado was born in Arequipa, Peru. A prolific composer and instrumentalist, he was
\nalso known as Pedro Tirado, Abril Tirado or Pedro Jim\u00e9nez de Abril Tirado and was considered by Bernardo
\nAlcedo, a contemporary of his, as \u201cthe best musical talent in Peru\u201d 1.
\nHis works include masses, symphonies, concerts for violins, quartets, yaravis and minuets, as well as
\npieces for voice and piano, cello and guitar, among others. In the early 1830s, he worked as a composer in the Cathedral of Lima. Between 1831 and 1838, his name appeared in the Peruvian capital\u2019s media as some of his quartets and concerts were being performed. According to Cedar Viglietti, Verdi reportedly incorporated some of Tirado\u2019s yaravis into his opera La Traviata2. On the other hand, Edgar Valc\u00e1rcel further notes that his works also included a concert for guitar and orchestra. Unfortunately, nowadays, very few samples of his work survive in Peru, in the Cathedral of Santiago de Chile and in the Cathedral of Sucre, Bolivia. Only two of his works are conserved in the archiepiscopal archives of Lima.
\nTirado lived in Bolivia on invitation of President Andr\u00e9s de Santa Cruz. His appointment as the chapel
\nmaster of the ancient Cathedral of La Plata was highlighted in 1833 by the El Boliviano newspaper: \u201c… Mr.
\nTirado\u2019s compositions have been praised in Europe and he is without a doubt America\u2019s top musician3.\u201d He
\nworked as chapel master at the Cathedral of Sucre in 1835 and at the Santa Iglesia Metropolitana de las Charcas, as well music professor in the College of Junin and the Girls College in this same city. In 1844, the collection of 100 minuets for guitar was published in Paris by the Parent and S. Richault publishing houses. He died in Sucre at age 76.
\nPedro Tirado\u2019s works are a valuable antecedent to understanding Latin American musical culture and a
\nvitally important topic of study and research. In the 20th century, the existence of this brilliant composer was revealed for the first time, in Lima, by N\u00e9stor Guestr\u00edn. Later, during the first The Guitar in Peru recital, performed at the ICPNA in July 1985, Octavio Santa Cruz \u201cpremiered\u201d a number of his minuets for guitar. Also, Gunther Vilar made available a copy of the facsimile edition of the 100 minuets for guitar published by Parent. A copy of this publication was given to us by Octavio Santa Cruz, to whom we are very thankful. We wish to highlight the valuable work carried out by Santa Cruz in researching and disseminating Peruvian guitar music. He is nowadays a reference and a model.
\nThe minuets for guitar are extremely rich musically and technically. They are divided in 2 sections, which
\nare constantly repeated. There are no tempo indicators. The movement \u2013crescendo, decrescendo, dolce, forte, piano or pianissimo\u2013 written on the facsimile and the notation marks are reproduced without any change in this publication. They could be grouped by tonality to be performed in concert.<\/p>\n

Ernesto Mayhuire, September 2008.
\nTranslated by Madeleine P\u00e9russe<\/p>\n

PEDRO XIMENES ABRIL TIRADO (1780-1856)<\/strong>
\nNaci\u00f3 en Arequipa, Per\u00fa. Compositor e instrumentista prol\u00edfico fue conocido tambi\u00e9n como Pedro Tirado,
\nAbril Tirado o Pedro Jim\u00e9nez de Abril Tirado y considerado por Bernardo Alcedo, su contempor\u00e1neo, como \u201cel
\nmejor talento m\u00fasico del Per\u00fa\u201d1.
\nSus obras comprenden tanto misas, sinfon\u00edas, conciertos para viol\u00edn, cuartetos, yarav\u00edes y minu\u00e9s, como
\npiezas para voz y piano, violonchelo, guitarra, entre otros. En los primeros a\u00f1os de la d\u00e9cada de 1830, trabaj\u00f3 como compositor en la catedral de Lima. Durante 1831 y 1838 fue referido por los medios de comunicaci\u00f3n de la capital peruana al realizarse algunos de sus cuartetos y conciertos. Cedar Viglietti se\u00f1ala que Verdi habr\u00eda incorporado algunos yarav\u00edes de Tirado a su opera La Traviata2. Por otro lado Edgar Valc\u00e1rcel a\u00f1ade que existi\u00f3 entre sus obras, un concierto para guitarra y orquesta. Actualmente, en el Per\u00fa, en la catedral de Santiago de Chile y en la catedral de Sucre, Bolivia, lamentablemente sobreviven muy pocos ejemplos de su producci\u00f3n. En el archivo arzobispal de Lima se conservan s\u00f3lo dos obras suyas.
\nTirado, radic\u00f3 en Bolivia invitado por el presidente Andr\u00e9s de Santa Cruz. Su nombramiento como maestro
\nde capilla de la antigua catedral de La Plata fue resaltado en 1833 por el peri\u00f3dico El Boliviano: \u201c… las composiciones del se\u00f1or Tirado han sido celebradas en Europa y sin duda alguna es el primer m\u00fasico de Am\u00e9rica\u201d3. Fue Maestro de Capilla en la catedral de Sucre, 1835 y en la Santa Iglesia Metropolitana de las Charcas, Catedr\u00e1tico de m\u00fasica de los Colegios de Jun\u00edn y de Educandas en la misma ciudad. En 1844, en Par\u00eds, las casas editoriales Parent y S. Richault publican la colecci\u00f3n de 100 minu\u00e9s para guitarra. Muri\u00f3 en Sucre a los 76 a\u00f1os.
\nLa obra de Pedro Tirado, significa un valioso antecedente para la comprensi\u00f3n de la cultura musical
\nlatinoamericana y constituye un tema ineludible de investigaci\u00f3n y reconocimiento. En el siglo XX, N\u00e9stor Guestr\u00edn anuncia por primera vez, en Lima, la existencia de este genial compositor. Posteriormente, Octavio Santa Cruz, en el primer recital La guitarra en el Per\u00fa, en el ICPNA, julio de 1985, present\u00f3 en calidad de \u201cestreno\u201d varios de los minu\u00e9s para guitarra. Asimismo Gunther Vilar puso a disposici\u00f3n una copia del facs\u00edmile de los 100 minu\u00e9s para guitarra editados por Parent. Una copia del mismo me fue cedida por Octavio Santa Cruz, de quien estamos muy agradecidos. Destacamos la valiosa tarea de investigaci\u00f3n y difusi\u00f3n de m\u00fasica para guitarra del Per\u00fa de Santa Cruz, \u00e9l, hoy, es una fuente de referencia y ejemplo.
\nLos minu\u00e9s para guitarra contienen vasta riqueza musical y t\u00e9cnica. Est\u00e1n divididos en 2 secciones, siempre
\nrepetidas. No hay indicadores de tempo. La din\u00e1mica escrita en el facs\u00edmile crescendo, decrescendo, dolce, forte, piano o pianissimo y los reguladores, est\u00e1n incluidos sin ninguna modificaci\u00f3n en la presente edici\u00f3n. Podrian agruparse por tonalidades para su interpretaci\u00f3n en concierto.<\/p>\n

Ernesto Mayhuire, septiembre 2008.<\/p>\n

PR\u00d3LOGO<\/strong><\/p>\n

La storia della chitarra presenta tuttora vistose lacune, specialmente per quanto riguarda la seconda met\u00e0
\ndel secolo XVIII e, nel secolo XIX, gli autori che vissero e operarono fuori dall’Europa. Segnatamente, appare
\nlacunoso lo studio dei chitarristi e compositori latino- americani che precedettero la nascita e la fioritura delle scuole nazionali. \u00c8 del tutto sensato attendersi, da una ricerca approfondita, l’emersione di figure e di opere di notevole rilievo, sia per l’apporto che potr\u00e0 venirne al repertorio, sia per il completamento di un panorama storiografico basato finora su un pregiudizio eurocentrico.
\nIn questo senso, l’indagine sulla figura di Pedro Jim\u00e9nez de Abril Tirado si preannuncia di grande importanza.
\nPer la verit\u00e0, il suo nome non \u00e8 nuovo in Europa. In Italia specialmente, Abril Tirado ebbe un forte sostenitore nel chitarrista-compositore Benvenuto Terzi (1892-1980) che, nei suoi concerti e nelle sue antologie, proponeva alcuni Minuetti, per\u00f2 nella pi\u00f9 totale mancanza di notizie riguardanti l’autore, che si riteneva fosse uno spagnolo epigono di Fernando Sor, soprattutto a motivo dello stile dei suoi Minuetti che – smesso l’abito funzionale della musica di danza – assurgono alla dignit\u00e0 di pura musica strumentale, con aspetti melodico-armonici e con valori espressivi perfettamente collocabili nella miglior tradizione europea.
\nNel 2000, la rivista Seicorde di Milano, per iniziativa e a cura di chi scrive queste note, pubblicava tre Minuetti tratti dalla raccolta Richault, con il corredo delle poche informazioni racimolate qua e l\u00e0, dalle quali non si poteva nemmeno evincere la nazionalit\u00e0 del musicista: si supponeva che fosse boliviano. Tuttavia, le considerazioni formulate nell’occasione, per quanto riguarda l’aspetto puramente musicale della sua unica raccolta conosciuta di musiche per chitarra, ci sembrano tuttora motivate, e le trascriviamo integralmente:
\n\u201cSi trattava quindi di un musicista che, esplicando la funzioni di maestro di cappella, non poteva essere soltanto un chitarrista. D’altra parte, la sua padronanza nel comporre per chitarra rivela inequivocabilmente la conoscenza diretta dello strumento, con raffinatezze non comuni all’epoca, quali le combinazioni simultanee tra legature della mano sinistra e note appartenenti a un arpeggio. Lo studio delle sue limpide composizioni e le ricerche da noi svolte ci portano a intravedere il profilo di un musicista di alta estrazione, socialmente ben collocato.
\nFondata nel 1539, Sucre fu capitale della Bolivia dal 1839 al 1898, e la Basilica Metropolitana in cui Abril Tirado prestava la sua opera di maestro di cappella (non sappiamo se fosse anche un sacerdote) \u00e8 una delle pi\u00f9 importanti opere dell’architettura coloniale costruite nel secolo XVII. Le scuole in cui il musicista insegnava erano istituzioni riservate alle famiglie dell’aristocrazia locale, alle cui figlie Abril Tirado dava lezioni di chitarra.\u201d
\nLe ricerche in atto da parte di Ernesto Mayhuire portano ora nuova luce sulla biografia del maestro, che
\nsappiamo ora essere peruviano. La riproposizione della raccolta Richault dei 100 Minuetti \u00e8 il primo passo di un recupero che ci auguriamo possa approdare anche alla riscoperta di quel Concerto per chitarra e orchestra che, coevo di quelli di Giuliani, Carulli e Molino, sicuramente apporterebbe un prezioso contributo alla storia della musica per chitarra e al suo repertorio.<\/p>\n

Angelo Gilardino
\nVercelli, Italia, settembre 2008.<\/p>\n

PROLOGUE<\/strong><\/p>\n

The history of guitar music shows gaps even to this day, especially in relation to the second half of the 18th
\ncentury, to the 19th century and to authors who lived and worked outside of Europe. Studies of guitarists and composers from Latin America prior to the birth of the national schools appear in particular to contain lots of gaps. All in all, it would seem sensible to commit to some thorough research into the emergence of prominent figures and new works of significant importance, be this by virtue of their contribution to the repertoire or of the view of an historic panorama that is based to this day on a Eurocentric prejudice.
\nIn this respect research into Pedro Jim\u00e9nez de Abril Tirado is of great importance from the outset. To tell
\nthe truth, his name is not unknown in Europe. In Italy in particular Abril Tirado enjoyed strong support from
\nguitar music composer Benvenuto Terzi (1892-1980), who in his concerts and anthologies featured a few minuets.
\nHowever, he did not specify who had written them and it was assumed to be a Spanish descendant of Fernando Sor, primarily due to the style of his minuets, which \u2013 once freed of their function as dance music \u2013 are elevated to the grandeur of pure instrumental music, with aspects of melody and harmony and values of expression that combine perfectly with the best European tradition.
\nIn the year 2000, on the initiative and with the support of the writer of this article, the Milan journal
\nSeicorde published parts of three minuets from the Richault collection along with a compilation of what little
\ninformation had been compiled, from which it was not even possible to deduce the nationality of the musician:
\nit was assumed that he was Bolivian. Nevertheless, the thoughts formulated at that time about the purely
\nmusical aspects of his unique guitar music motivate us to this day and we cite them here in full:
\n\u201cWe are dealing here with a musician who in performing his role as the master of chapel musicians was not
\nable to be just a guitarist. On the other hand, his mastery of the guitar composition demonstrates
\nincontrovertibly his direct knowledge of this instrument, with a sophistication that was not customary at this
\ntime, such as the simultaneous combinations of the interplay of the left hand with notes that belonged to an
\narpeggio. Study of his clear compositions and research that we have carried out give us the profile of a
\ncomfortably off musician from an elevated social class. Founded in 1539, Sucre became Bolivia\u2019s capital from
\n1839 to 1898. The Basilica Metropolitana, in which Abril Tirado acted as the leader of the chapel musicians (we do not know if he was also a priest), is one of the most important works of colonial architecture of the 18th century. The schools at which Tirado taught were institutions exclusively for families of the local aristocracy, whose sons he gave guitar tuition.\u201d
\nThe research of Ernesto Mayhuire throws new light on the biography of the master musician, who we now
\nknow to have been Peruvian. The new approach of the Richault collection of 100 minuets is a first step that we can hope may also lead to the rediscovery of these concerts for guitar and orchestra that come from the same era as those of Giuliani, Carulli and Molino and that could undoubtedly be a valuable contribution to the history of guitar music and its overall repertoire.<\/p>\n

Angelo Gilardino
\nVercelli, Italy, in September 2008.<\/p>\n

PR\u00d3LOGO<\/strong>
\nLa historia de la guitarra tiene todav\u00eda importantes lagunas, especialmente en lo que se refiere a la segunda
\nmitad del siglo XVIII, y, en el siglo XIX, sobre los autores que vivieron y operaron fuera de Europa. Puntualmente, el estudio de los guitarristas y compositores latinoamericanos que precedieron al nacimiento y el florecimiento de las escuelas nacionales. Es comprensible esperar que con una investigaci\u00f3n profunda se descubran figuras y obras de gran importancia, ya sea por su aporte al repertorio, como por la conclusi\u00f3n de un panorama historiogr\u00e1fico que hasta ahora se ha basado en un prejuicio euroc\u00e9ntrico.
\nEn este sentido, la investigaci\u00f3n sobre la figura de Pedro Jim\u00e9nez de Abril Tirado se vislumbra como de
\ngran importancia. A decir verdad, su nombre no es nuevo en Europa. En Italia, especialmente, Abril Tirado tuvo un importante sostenedor en el guitarrista y compositor Benvenuto Terzi (1892-1980), quien, en sus conciertos y en sus antolog\u00edas, propon\u00eda algunos minu\u00e9s. Sin embargo, debido a una total falta de informaci\u00f3n referente al autor, se lo consideraba un espa\u00f1ol ep\u00edgono de Fernando Sor, sobretodo por el estilo de sus minu\u00e9s, los cuales, olvidando la funcionalidad de la m\u00fasica para la danza, ascienden a la dignidad de pura m\u00fasica instrumental, con aspectos mel\u00f3dico-arm\u00f3nicos y con valores expresivos perfectamente ubicables dentro de la mejor tradici\u00f3n europea.
\nEn el 2000, la revista Seicorde de Mil\u00e1n, editada por quien escribe estas notas, y por iniciativa nuestra,
\npublicaba tres minu\u00e9s de la colecci\u00f3n de Richault, con el apoyo de la poca informaci\u00f3n recogida aqu\u00ed y all\u00e1, de las cuales no se pod\u00eda siquiera deducir la nacionalidad del m\u00fasico, que se asum\u00eda fuese boliviano. Sin embargo, las consideraciones expresadas en aquella ocasi\u00f3n, en cuanto al aspecto puramente instrumental de su \u00fanica colecci\u00f3n conocida de m\u00fasica para guitarra, est\u00e1n vigentes y las transcribimos \u00edntegramente:
\n\u201cSe trataba, por lo tanto, de un m\u00fasico que, efectuando las funciones de Maestro de Capilla, no pod\u00eda ser s\u00f3lo un guitarrista. Por otro lado, su dominio de la composici\u00f3n para guitarra revela inequ\u00edvocamente un
\nconocimiento directo del instrumento, con refinamientos poco comunes en la \u00e9poca, como combinaciones
\nsimult\u00e1neas entre la ligadura de la mano izquierda y las notas pertenecientes a un arpegio. El estudio de sus
\npr\u00edstinas composiciones y la investigaci\u00f3n efectuada por nosotros nos muestran el perfil de un m\u00fasico de alta extracci\u00f3n, socialmente bien posicionado.
\nFundada en 1539, Sucre fue la capital de Bolivia desde 1839 a 1898 y la Bas\u00edlica Metropolitana en la cual Abril
\nTirado trabajaba como Maestro de Capilla (no sabemos por lo dem\u00e1s, si se trataba de un sacerdote) es una de
\nlas m\u00e1s importantes obras de la arquitectura colonial que se construyeron en el siglo XVII. Las Escuelas en las cuales ense\u00f1aba el m\u00fasico eran instituciones reservadas a las familias aristocr\u00e1ticas locales, a cuyas hijas Abril Tirado impart\u00eda lecciones de guitarra\u201d.
\nLa investigaci\u00f3n efectuada por Ernesto Mayhuire nos da nuevas luces sobre la biograf\u00eda del Maestro, que
\nsabemos era peruano. El nuevo estudio de la colecci\u00f3n de 100 Minu\u00e9s de Richault es el primer paso hacia una recuperaci\u00f3n que esperamos pueda propiciar tambi\u00e9n el descubrimiento de aquel \u201cConcierto para Guitarra y Orquesta\u201d que, contempor\u00e1neo a los de Giuliani, Carulli y Molino, seguramente aportar\u00eda una preciosa contribuci\u00f3n a la historia de la m\u00fasica para guitarra y su repertorio.<\/p>\n

Angelo Gilardino
\nVercelli, Italia, septiembre de 2008.<\/p>\n

VORWORT<\/strong><\/p>\n

Die Geschichte der Gitarre weist noch immer auffallende L\u00fccken auf. Was die zweite H\u00e4lfte des 18. Jahrhunderts und das 19. Jahrhundert angeht, so liegen diese besonders bei Autoren die ausserhalb Europas lebten und wirkten. Vornehmlich die lateinamerikanischen Gitarristen und Komponisten, die vor dem Erwachen und Erbl\u00fchen der nationalen Schulen wirkten, sind wenig erforscht. Von einer vertieften Forschung kann man deshalb durchaus erwarten, dass sie Autoren und Werke von bemerkenswerter Bedeutung ans Licht bringt, sei es als Beitrag zum Repertoire oder sei es als Vervollst\u00e4ndigung des bis anhin auf eurozentrischen Vorurteilen basierenden historischen Panoramas.
\nIn diesem Sinne ist die Untersuchung der Gestalt Pedro Jim\u00e9nez de Abril Tirados von grosser Wichtigkeit. Doch sein Name ist nicht g\u00e4nzlich neu in Europa. Besonders in Italien hatte Abril Tirado einen starken F\u00fcrsprecher im Komponisten und Gitarristen Benvenuto Terzi (1892-1980), der in seinen Konzerten und Anthologien einige Menuette Tirados bekannt machte. Durch das g\u00e4nzliche Fehlen von Angaben hielt man Abril Tirado f\u00fcr einen spanischen Epigonen Fernando Sors. Ausschlaggebend f\u00fcr diese Vermutung war wohl der Stil seiner Menuette, die – mit gew\u00f6hnlicher Tanzmusik brechend – die W\u00fcrde reiner Instrumentalmusik erreichen und sich dank ihrer melodisch-harmonischen Machart und ihrer expressiven Qualit\u00e4ten bestens in die europ\u00e4ische Tradition eingliedern.<\/p>\n

Im Jahr 2000 ver\u00f6ffentlichte die mail\u00e4nder Zeitschrift Seicorde aufgrund der Initiative und unter der Leitung des Verfassers dieser Zeilen drei Menuette aus der Sammlung von Richault. Die wenigen Informationen die zur Verf\u00fcgung standen, reichten nicht aus, um die Nationalit\u00e4t des Musikers festzustellen: Es wurde vermutet, Abril Tirado sei bolivianischer Herkunft. Doch die bei jener Gelegenheit formulierten Gedanken, die sich ausschliesslich auf den musikalischen Aspekt von Abril Tirados einziger bekannten Sammlung von Gitarrenmusik beziehen, erscheinen durchaus g\u00fcltig und seien deshalb hier in ihrer Ganzheit wiedergegeben:<\/p>\n

\u201eEs handelt sich folglich um einen Musiker, der, die Funktion eines Kapellmeisters innehabend, nicht lediglich ein Gitarrist sein konnte. Doch auf der anderen Seite \u00e4ussert sich die direkte Kenntnis des Instruments in seiner meisterhaften Beherrschung des Gitarristischen, etwa in zu seiner Zeit ungew\u00f6hnlichen Raffinessen wie die gleichzeitige Kombination von Bindungen der linken Hand und einem Arpeggio. Das Studium von Abril Tirados Kompositionen und die Forschungsergebnisse lassen uns das Profil eines sozial gut gestellten Musikers h\u00f6herer Abstammung erahnen. Das 1539 gegr\u00fcndete Sucre war von 1839 bis 1898 die Hauptstadt Boliviens und die Basilica Metropolitana in der Abril Tirado als Kapellmeister t\u00e4tig war (ob er auch Priester war, ist unbekannt), ist eine der wichtigsten Werke der kolonialen Architektur des 17. Jahrhunderts. Die Schulen, in denen er unterrichtete, waren der lokalen Aristokratie vorbehalten, deren S\u00f6hne Abril Tirado auf der Gitarre unterrichtete.\u201c<\/p>\n

Ernesto Mayhuires Forschungen werfen jetzt neues Licht auf die Biographie des \u2013 wie wir nun wissen \u2013 peruanischen Meisters. Die Neuauflage der bei Richault erschienen Sammlung von 100 Menuetten ist ein erster Schritt zu einer Wiederentdeckung der Werke Abril Tirados. Zu hoffen ist, dass sie im Wiederauffinden seines Konzerts f\u00fcr Gitarre und Orchester ihre Fortsetzung findet, das, wie die Konzerte seiner Zeitgenossen Giuliani, Carulli und Molino, sicherlich ein wertvoller Beitrag zur Geschichtsschreibung und zum Repertoire der Gitarre w\u00e4re.<\/p>\n

Angelo Gilardino<\/p>\n

Vercelli, Italien, im September 2008<\/p>\n

\u00dcbersetzt von Cla Mathieu<\/p>\n

Pedro Ximenes Abril Tirado
\nThe most beautiful minuets for guitar
\nVolume 1
\n\u00a9 Ernesto Mayhuire & Rub\u00e9n Uscata, 2008
\nMusicography: Jorge Senmache
\nPrinter: Grafimag S.R.L.
\nPublisher: Juan Brito
\nPrinted in Peru
\nHecho el Dep\u00f3sito Legal en la Biblioteca Nacional del Per\u00fa N\u00ba
\nContact:
\nSwitzerland:
\n(+41) 619215234
\n(+41) 765243777
\nPer\u00fa:
\nLibrer\u00eda COMMENTARIOS
\nJir\u00f3n Ica 144, Lima.
\nTel\u00e9fono: (51-1) 427 1361<\/p>\n

Total or partial reproduction prohibited.<\/p>\n","protected":false},"excerpt":{"rendered":"

PEDRO XIMENES ABRIL TIRADO (1780-1856) Pedro Ximenes Abril Tirado was born in Arequipa, Peru. A prolific composer and instrumentalist, he was also known as Pedro Tirado, Abril Tirado or Pedro Jim\u00e9nez de Abril Tirado and was considered by Bernardo Alcedo, a contemporary of his, as \u201cthe best musical talent in Peru\u201d 1. His works include masses, symphonies, concerts\u2026 Lire la suite »<\/a><\/span><\/p>\n","protected":false},"author":9,"featured_media":8980,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"sfsi_plus_gutenberg_text_before_share":"","sfsi_plus_gutenberg_show_text_before_share":"","sfsi_plus_gutenberg_icon_type":"","sfsi_plus_gutenberg_icon_alignemt":"","sfsi_plus_gutenburg_max_per_row":"","_EventAllDay":false,"_EventTimezone":"","_EventStartDate":"","_EventEndDate":"","_EventStartDateUTC":"","_EventEndDateUTC":"","_EventShowMap":false,"_EventShowMapLink":false,"_EventURL":"","_EventCost":"","_EventCostDescription":"","_EventCurrencySymbol":"","_EventCurrencyCode":"","_EventCurrencyPosition":"","_EventDateTimeSeparator":"","_EventTimeRangeSeparator":"","_EventOrganizerID":[],"_EventVenueID":[],"_OrganizerEmail":"","_OrganizerPhone":"","_OrganizerWebsite":"","_VenueAddress":"","_VenueCity":"","_VenueCountry":"","_VenueProvince":"","_VenueState":"","_VenueZip":"","_VenuePhone":"","_VenueURL":"","_VenueStateProvince":"","_VenueLat":"","_VenueLng":"","_VenueShowMap":false,"_VenueShowMapLink":false,"footnotes":""},"categories":[95],"tags":[488,92],"class_list":["post-361","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-partitions","tag-guitare","tag-partition"],"_links":{"self":[{"href":"https:\/\/www.carillons.ch\/blog\/wp-json\/wp\/v2\/posts\/361","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.carillons.ch\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.carillons.ch\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.carillons.ch\/blog\/wp-json\/wp\/v2\/users\/9"}],"replies":[{"embeddable":true,"href":"https:\/\/www.carillons.ch\/blog\/wp-json\/wp\/v2\/comments?post=361"}],"version-history":[{"count":22,"href":"https:\/\/www.carillons.ch\/blog\/wp-json\/wp\/v2\/posts\/361\/revisions"}],"predecessor-version":[{"id":8981,"href":"https:\/\/www.carillons.ch\/blog\/wp-json\/wp\/v2\/posts\/361\/revisions\/8981"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.carillons.ch\/blog\/wp-json\/wp\/v2\/media\/8980"}],"wp:attachment":[{"href":"https:\/\/www.carillons.ch\/blog\/wp-json\/wp\/v2\/media?parent=361"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.carillons.ch\/blog\/wp-json\/wp\/v2\/categories?post=361"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.carillons.ch\/blog\/wp-json\/wp\/v2\/tags?post=361"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}