{"version":"1.0","provider_name":"Swiss Music Review","provider_url":"https:\/\/www.revuemusicale.ch\/en","author_name":"Pia Schwab","author_url":"https:\/\/www.revuemusicale.ch\/en\/author\/pia-schwab","title":"Interpr\u00e9ter la musique, de la fin du Moyen \u00c2ge \u00e0 Liszt - Revue Musicale Suisse","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"Vcn9ETi3cf\"><a href=\"https:\/\/www.revuemusicale.ch\/en\/critiques\/livres-et-partitions\/2026\/01\/symetrie\">Interpreting music from the late Middle Ages to Liszt<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/www.revuemusicale.ch\/en\/critiques\/livres-et-partitions\/2026\/01\/symetrie\/embed#?secret=Vcn9ETi3cf\" width=\"600\" height=\"338\" title=\"&quot;Interpr\u00e9ter la musique, de la fin du Moyen \u00c2ge \u00e0 Liszt&quot; - Swiss Music Review\" data-secret=\"Vcn9ETi3cf\" 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\/2026\/01\/Jakob_Gotzenberger_Fryderyk_Chopin_at_the_piano_-_Google_Art_Project.jpg","thumbnail_width":1292,"thumbnail_height":1000,"description":"Le catalogue des \u00e9ditions Sym\u00e9trie s\u2019est enrichi de nouvelles et int\u00e9ressantes parutions qui raviront musiciens et m\u00e9lomanes, en particulier les pianistes, violonistes et amateurs de musique m\u00e9di\u00e9vale. Chopin est quant \u00e0 lui honor\u00e9 par la galerie neuch\u00e2teloise Ditesheim & Maffei."}