{"version":"1.0","provider_name":"Swiss Music Review","provider_url":"https:\/\/www.revuemusicale.ch\/en","author_name":"Musikzeitung-Redaktion","author_url":"https:\/\/www.revuemusicale.ch\/en\/author\/admin","title":"Alo\u00ffs Fornerod, du sacr\u00e9 au profane - Revue Musicale Suisse","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"hmPIuNzRB8\"><a href=\"https:\/\/www.revuemusicale.ch\/en\/critiques\/disques\/2017\/06\/aloys-fornerod\">Alo\u00ffs Fornerod, from the sacred to the profane<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/www.revuemusicale.ch\/en\/critiques\/disques\/2017\/06\/aloys-fornerod\/embed#?secret=hmPIuNzRB8\" width=\"600\" height=\"338\" title=\"&#8220;Alo\u00ffs Fornerod, du sacr\u00e9 au profane&#8221; &#8212; Revue Musicale Suisse\" data-secret=\"hmPIuNzRB8\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script>\n\/*! This file is auto-generated *\/\n!function(d,l){\"use strict\";l.querySelector&&d.addEventListener&&\"undefined\"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!\/[^a-zA-Z0-9]\/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),o=l.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),c=new RegExp(\"^https?:$\",\"i\"),i=0;i<o.length;i++)o[i].style.display=\"none\";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute(\"style\"),\"height\"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):\"link\"===t.message&&(r=new URL(s.getAttribute(\"src\")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener(\"message\",d.wp.receiveEmbedMessage,!1),l.addEventListener(\"DOMContentLoaded\",function(){for(var e,t,s=l.querySelectorAll(\"iframe.wp-embedded-content\"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute(\"data-secret\"))||(t=Math.random().toString(36).substring(2,12),e.src+=\"#?secret=\"+t,e.setAttribute(\"data-secret\",t)),e.contentWindow.postMessage({message:\"ready\",secret:t},\"*\")},!1)))}(window,document);\n\/\/# sourceURL=https:\/\/www.revuemusicale.ch\/wp-includes\/js\/wp-embed.min.js\n<\/script>","thumbnail_url":"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2023\/01\/Fornerod-1.jpg","thumbnail_width":554,"thumbnail_height":418,"description":"\u00ab Pour de\u0301finir l\u2019identite\u0301 musicale de Fornerod, il convient de la situer dans le cadre ge\u0301ne\u0301ral du vaste mouvement culturel qui s\u2019est de\u0301veloppe\u0301 au lendemain de 1918 et qu\u2019on peut appeler ne\u0301oclassicisme en un sens tre\u0300s ge\u0301ne\u0301ral. \u00bb Jacques Viret dans le booklet du cd."}