{"id":132010,"date":"2026-04-27T16:23:25","date_gmt":"2026-04-27T14:23:25","guid":{"rendered":"https:\/\/www.iemj.org\/bolaffi-michele-1768-1842\/"},"modified":"2026-04-27T16:23:25","modified_gmt":"2026-04-27T14:23:25","slug":"bolaffi-michele-1768-1842","status":"publish","type":"post","link":"https:\/\/www.iemj.org\/es\/bolaffi-michele-1768-1842\/","title":{"rendered":"Bolaffi, Michele (1768-1842)"},"content":{"rendered":"\n<!--more-->\n\n\n\n<p><strong>Michele Bolaffi <\/strong>(Florence 1768-Livourne 1842) est un compositeur florentin juif d\u2019origine s\u00e9farade. Dot\u00e9 d\u2019une vaste culture, ses activit\u00e9s s\u2019\u00e9tendirent de la musique \u00e0 la litt\u00e9rature, en passant par l\u2019enseignement et la th\u00e9orie musicale. Il fut un chanteur talentueux (t\u00e9nor), po\u00e8te, homme de lettres, traducteur de textes h\u00e9bra\u00efques, ma\u00eetre de chant et de chapelle, accompagnateur, historien et th\u00e9oricien de la musique. Son \u0153uvre comprend une grande vari\u00e9t\u00e9 de compositions profanes et liturgiques.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Carri\u00e8re musicale<\/strong><\/h2>\n\n\n\n<p>Bolaffi, qui \u00e9tait chanteur, se produisait souvent en public. Il jouait parfois du cymbalum sur ses propres compositions, ou bien il chantait aux c\u00f4t\u00e9s de la c\u00e9l\u00e8bre soprano lyrique Angelica Catalani. C&#8217;est \u00e0 cette derni\u00e8re dont il louait les qualit\u00e9s vocales qu&#8217;il d\u00e9dia le sonnet \u00ab Stupor tu fosti allor d&#8217;Europa intera \u00bb.<\/p>\n\n\n\n<p>Parmi ses fonctions professionnelles les plus prestigieuses, il occupa en 1809 pendant une br\u00e8ve p\u00e9riode le poste de directeur musical du duc royal de Cambridge. Entre 1816 et 1818, il fut ma\u00eetre de chapelle \u00e0 la cour de Louis XVIII \u00e0 Paris et obtint un poste au Th\u00e9\u00e2tre Royal Italien, o\u00f9 il \u00e9tait charg\u00e9 de la r\u00e9vision des partitions.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Activit\u00e9s p\u00e9dagogiques et universitaires<\/strong><\/h2>\n\n\n\n<p>Bolaffi fut un promoteur infatigable de l&#8217;\u00e9ducation musicale. Vers 1819, \u00e0 Paris, il fonda et dirigea une \u00c9cole de musique, en adoptant la m\u00e9thode de \u00ab l&#8217;enseignement mutuel \u00bb de l&#8217;Italien Federico Massimino, contribuant ainsi \u00e0 diffuser le style et la culture italienne. Il enseigna \u00e9galement la musique dans une \u00e9cole d&#8217;enseignement mutuel \u00e0 Marseille.<\/p>\n\n\n\n<p>Entre 1821 et 1822, \u00e0 Florence, il fonda deux autres \u00e9coles de musique o\u00f9 il enseignait le chant et dirigeait les ch\u0153urs des Scuole Sante Italiana et de la Scuola Levantina. Il poursuivit son \u0153uvre p\u00e9dagogique en ouvrant une autre \u00e9cole de musique \u00e0 G\u00eanes en 1823 et en enseignant \u00e0 l\u2019\u00e9cole juive priv\u00e9e Or Torah \u00e0 Livourne en 1825. Entre 1836 et 1837, il fut nomm\u00e9 professeur honoraire des \u00e9coles communautaires juives.<\/p>\n\n\n\n<p>Sur le plan acad\u00e9mique, sur proposition de M. C\u00e9sar de Saluces, il fut nomm\u00e9 membre de l\u2019Acad\u00e9mie royale de Turin et obtint le poste de correspondant pour la classe des lettres et des beaux-arts.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>\u0152uvres litt\u00e9raires et traductions<\/strong><\/h2>\n\n\n\n<p>Homme d\u2019une grande culture, Bolaffi entretint une correspondance avec de nombreuses personnalit\u00e9s de l\u2019\u00e9poque, parmi lesquelles Rossini, l\u2019impr\u00e9sario Lanari et la princesse H\u00e9l\u00e8ne Baciocchi, s\u0153ur de Napol\u00e9on.<\/p>\n\n\n\n<details class=\"wp-block-details is-layout-flow wp-block-details-is-layout-flow\"><summary><strong>Traductions les plus remarquables :<\/strong> Le po\u00e8me \u00e9pique \u00ab L\u2019Henriade \u00bb de Voltaire,&#8230;<\/summary>\n<ul class=\"wp-block-list\">\n<li>Le po\u00e8me \u00e9pique \u00ab L\u2019Henriade \u00bb de Voltaire, en vers libres italiens.<\/li>\n\n\n\n<li>\u00ab Teodia o sia Inno filosofico a Dio \u00bb, un texte h\u00e9breu de Shelomoh ibn Gabirol, traduit en italien.<\/li>\n\n\n\n<li>\u00ab L\u2019immortalit\u00e0 dell\u2019anima \u00bb, un po\u00e8me de Jacopo Delille, traduit en hend\u00e9casyllabes.<\/li>\n<\/ul>\n<\/details>\n\n\n\n<details class=\"wp-block-details is-layout-flow wp-block-details-is-layout-flow\"><summary><strong>\u0152uvres litt\u00e9raires significatives :<\/strong> La \u00ab Lettre sur l\u2019op\u00e9ra Maria di Rudenz \u00bb, un pamphlet&#8230;<\/summary>\n<ul class=\"wp-block-list\">\n<li>La \u00ab Lettre sur l\u2019op\u00e9ra Maria di Rudenz \u00bb, un pamphlet adress\u00e9 \u00e0 son ami Donizetti pour d\u00e9fendre la valeur artistique de l\u2019op\u00e9ra apr\u00e8s l\u2019\u00e9chec de la premi\u00e8re au Th\u00e9\u00e2tre La Fenice de Venise en ao\u00fbt 1838.<\/li>\n\n\n\n<li>Le sonnet \u00ab Dolci sembianze, amate luci sante \u00bb, d\u00e9di\u00e9 \u00e0 son \u00e9pouse Lia Pardo Roques d\u00e9c\u00e9d\u00e9 en 1815, et \u00e0 la c\u00e9l\u00e8bre chanteuse Carolina Hungher.<\/li>\n\n\n\n<li>Le po\u00e8me \u00ab Ritratto poetico di Lablache \u00bb, pour exalter les qualit\u00e9s vocales, d\u2019interpr\u00e9tation et humaines du chanteur d\u2019op\u00e9ra franco-italien Luigi Lablache.<\/li>\n\n\n\n<li>\u00ab La Gambaide \u00bb, un recueil de quarante sonnets, compos\u00e9 \u00e0 la suite d\u2019un accident qui lui causa une fracture \u00e0 la jambe.<\/li>\n\n\n\n<li>Des sonnets italiens et h\u00e9bra\u00efques relatant une agression subie dans la rue \u00e0 Livourne.<\/li>\n<\/ul>\n<\/details>\n\n\n\n<div style=\"height:15px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Production musicale, de genres vari\u00e9s, comprenant :<\/strong><\/h2>\n\n\n\n<ul class=\"wp-block-list\"><\/ul>\n\n\n\n<details class=\"wp-block-details is-layout-flow wp-block-details-is-layout-flow\"><summary><strong>Drames religieux et pi\u00e8ces de th\u00e9\u00e2tre : <\/strong>\u00ab Simchat Mitzvah \u00bb, un drame religieux en deux actes&#8230;<\/summary>\n<ul class=\"wp-block-list\">\n<li>\u00ab Simchat Mitzvah \u00bb, un drame religieux en deux actes de Daniele Terni, \u00e9crit pour l\u2019inauguration de la synagogue de Florence (1793).<\/li>\n\n\n\n<li>\u00ab Saul \u00bb, une pi\u00e8ce de th\u00e9\u00e2tre<\/li>\n\n\n\n<li>\u00ab Il pastore e la pastorella delle alpi \u00bb, une farce musicale sur un livret de Giulio Domenico Camagna, repr\u00e9sent\u00e9e au Th\u00e9\u00e2tre S. Mois\u00e8 de Venise.<\/li>\n<\/ul>\n<\/details>\n\n\n\n<details class=\"wp-block-details is-layout-flow wp-block-details-is-layout-flow\"><summary><strong>Chants et compositions vocales :<\/strong> \u00ab Sei Canzonette \u00bb : sur un po\u00e8me de Francesco Gianni&#8230;<\/summary>\n<ul class=\"wp-block-list\">\n<li>\u00ab Sei Canzonette \u00bb : sur un po\u00e8me de Francesco Gianni, pour voix (soprano), violon, harpe ou piano.<\/li>\n\n\n\n<li>\u00ab Tre Canzonette sulla rosa \u00bb, op. III, pour deux voix (sopranos) et basse continue.<\/li>\n\n\n\n<li>\u00ab La Pace \u00bb op. IV, cantate pour voix seule (soprano) et orchestre.<\/li>\n\n\n\n<li>\u00ab Il sogno d\u2019Etruria \u00bb, cantate pour deux voix (S, T), ch\u0153ur \u00e0 4 voix et orchestre.<\/li>\n\n\n\n<li>\u00ab Per il ritorno di sua Maest\u00e0 Lodovico Primo re d\u2019Etruria \u00bb : aria pour t\u00e9nor et orchestre.<\/li>\n\n\n\n<li>\u00ab Miserere Toscano \u00bb : pour soprano, t\u00e9nor et basse, orchestre \u00e0 vent et \u00e0 cordes, sur un texte de Bolaffi lui-m\u00eame.<\/li>\n\n\n\n<li>\u00ab Trois ariettes \u00bb op. VI, pour voix et piano.<\/li>\n\n\n\n<li>\u00ab 6 Psaumes p\u00e9nitentiels \u00bb : \u00e0 deux voix avec basse d\u2019accompagnement, d\u00e9di\u00e9s \u00e0 Marie-Louise, reine r\u00e9gente d\u2019\u00c9trurie.<\/li>\n\n\n\n<li>\u00ab Six nouveaux nocturnes italiens \u00bb, op. II : \u00e0 deux voix avec accompagnement au piano ou \u00e0 la harpe, d\u00e9di\u00e9s au chevalier Fr\u00e9d\u00e9ric de Caravel.<\/li>\n\n\n\n<li>\u00ab Placido zeffiretto \u00bb : ariette pour contralto avec accompagnement au piano ou \u00e0 la harpe, extraite de la cantate \u00ab Amor timido \u00bb de Pietro Metastasio et d\u00e9di\u00e9e \u00e0 Giuseppina Grassini.<\/li>\n\n\n\n<li>\u00ab Padre del ciel che di natura i moti \u00bb, sonnet pour voix seule avec piano, \u00e0 la m\u00e9moire de Haydn.<\/li>\n\n\n\n<li>\u00ab Il faut aimer \u00bb, romance pour voix et piano.<\/li>\n\n\n\n<li>\u00ab Cantate \u00e0 trois voix avec ch\u0153urs \u00bb et orchestre, compos\u00e9e \u00e0 l\u2019occasion de la naissance du fils de Napol\u00e9on Bonaparte et de Marie-Louise d\u2019Autriche.<\/li>\n\n\n\n<li>\u00ab L\u2019Italia \u00bb, sonnet pour voix (t\u00e9nor), fl\u00fbte et harpe, po\u00e8me et musique de Michele Bolaffi.<\/li>\n\n\n\n<li>\u00ab Povero angusto rio \u00bb (\u00d4 toi dont l\u2019onde pure) : cavatine pour t\u00e9nor avec accompagnement au piano ou \u00e0 la harpe.<\/li>\n\n\n\n<li>\u00ab Come mai da te lontano \u00bb (Te quitter ma douce amie), \u00ab Che cangi tempra \u00bb, \u00ab Caro rio ch\u2019al mar t\u2019en vai \u00bb : cavatines pour voix accompagn\u00e9es au piano ou \u00e0 la harpe.<\/li>\n\n\n\n<li>\u00ab Tribut de douleur \u00bb : \u00e9l\u00e9gie pour chant, piano ou harpe, compos\u00e9e \u00e0 l\u2019occasion du d\u00e9c\u00e8s de la princesse Charlotte de Galles.<\/li>\n\n\n\n<li>\u00ab Six nouveaux nocturnes italiens \u00bb : pour soprano et t\u00e9nor avec piano ou harpe, d\u00e9di\u00e9s \u00e0 Monseigneur le Prince de L\u00e9on<\/li>\n\n\n\n<li>\u00ab Sur un rocher d\u00e9sert \u00bb : cantate accompagn\u00e9e au piano ou \u00e0 la harpe, adaptation de la Cantate VII \u00ab Circ\u00e9 \u00bb de Jean-Baptiste Rousseau.<\/li>\n\n\n\n<li>\u00ab Se lontan ben mio tu sei \u00bb, \u00ab So che vanti un core ingrato \u00bb, \u00ab S\u2019io t\u2019amo oh Dio mi chiedi \u00bb : ariettes pour soprano, piano et guitare, rassembl\u00e9es dans \u00ab Il Mese armonico \u00bb, sur des textes po\u00e9tiques de Metastasio.<\/li>\n\n\n\n<li>Un autre \u00ab Padre del Ciel che di natura i moti \u00bb : sonnet pour voix et piano, compos\u00e9 et mis en musique par Bolaffi en remerciement \u00e0 Dieu pour la gu\u00e9rison de deux graves maladies cons\u00e9cutives r\u00e9cemment subies.<\/li>\n\n\n\n<li>\u00ab Cantate avec ch\u0153urs \u00bb, voix soliste et orchestre, d\u00e9di\u00e9e \u00e0 Charles-Albert, roi de Sardaigne.<\/li>\n\n\n\n<li>\u00ab Il canto d\u2019Euterpe \u00bb : hymne pour soprano, ch\u0153ur (4S) et piano, d\u00e9di\u00e9 \u00e0 Rossini.<\/li>\n\n\n\n<li>\u00ab Il pastore e la pastorella delle alpi \u00bb : farce musicale en un acte sur un livret de G. Domenico Camagna.<\/li>\n\n\n\n<li>\u00ab Saul \u00bb, un op\u00e9ra en deux actes<\/li>\n<\/ul>\n<\/details>\n\n\n\n<details class=\"wp-block-details is-layout-flow wp-block-details-is-layout-flow\"><summary><strong>Compositions liturgiques manuscrites :<\/strong> \u00ab Mizmor Ledavid \u00bb : Psaume 29 pour ch\u0153ur a cappella&#8230;<\/summary>\n<ul class=\"wp-block-list\">\n<li>\u00ab Mizmor Ledavid \u00bb : Psaume 29 pour ch\u0153ur a cappella<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_132010_1('footnote_plugin_reference_132010_1_1');\" onkeypress=\"footnote_moveToReference_132010_1('footnote_plugin_reference_132010_1_1');\" ><sup id=\"footnote_plugin_tooltip_132010_1_1\" class=\"footnote_plugin_tooltip_text\">[1]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_132010_1_1\" class=\"footnote_tooltip\">Selon Herv\u00e9 Roten, la m\u00e9lodie de ce psaume est identique \u00e0 celle chant\u00e9e dans le Comtat Venaissin \u00e0 la fin du 19e. Voir recueil de Jules Salomon et Mardoch\u00e9e Cr\u00e9mieu, Chants h\u00e9bra\u00efques&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\"  onclick=\"footnote_moveToReference_132010_1('footnote_plugin_reference_132010_1_1');\">Lire la suite<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_132010_1_1').tooltip({ tip: '#footnote_plugin_tooltip_text_132010_1_1', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script><\/li>\n\n\n\n<li>\u00ab Alelu et adonai col goim \u00bb, Psaume (117, 1-2) pour ch\u0153ur a cappella (S, T, B).<\/li>\n\n\n\n<li>\u00ab Annoten Teschiuh Lamelakim \u00bb : hymne \u00e0 trois voix (S, T, B).<\/li>\n\n\n\n<li>\u00ab Veemun\u00e0 \u00bb : chant \u00e0 plusieurs voix d\u00e9di\u00e9 aux coreligionnaires de Rome.<\/li>\n\n\n\n<li>\u00ab Versets mis en musique par divers professeurs \u00bb (2 vol., 1825 &#8211; 1826), d\u00e9di\u00e9s au t\u00e9nor Aron Crocolo.<\/li>\n\n\n\n<li>18 \u00ab Chants sacr\u00e9s pour les jours de p\u00e9nitence et de f\u00eate \u00bb, rassembl\u00e9s par Ernesto Ventura.<\/li>\n\n\n\n<li>15 \u00ab Chants sacr\u00e9s \u00bb \u00e0 entonner pour le Shabbat et faisant partie d\u2019un recueil de chants de divers auteurs intitul\u00e9 <em>Sabato &#8211; Musica sacra<\/em>, transcrits en cl\u00e9 de sol par Ernesto Ventura.<\/li>\n\n\n\n<li>103 \u00ab Chants sacr\u00e9s \u00bb pour soprano, t\u00e9nor et basse, r\u00e9partis en deux volumes intitul\u00e9s \u00ab Musica sacra di Livorno, ridotta da Mois\u00e8 Ventura (arrang\u00e9e par Mois\u00e8 Ventura) \u00bb.<\/li>\n\n\n\n<li>125 \u00ab Psaumes \u00bb pour soprano, basse, soliste et ch\u0153ur. \u00ab Simhat Mitzvah \u00bb : drame religieux en deux actes, sur un livret de Daniele Terni (la musique n\u2019est pas disponible)<\/li>\n<\/ul>\n<\/details>\n\n\n\n<details class=\"wp-block-details is-layout-flow wp-block-details-is-layout-flow\"><summary><strong>Compositions instrumentales<\/strong> <strong>:<\/strong> \u00ab Suonata prima per cimbalo a piano-forte \u00bb&#8230;<\/summary>\n<ul class=\"wp-block-list\">\n<li>\u00ab Suonata prima per cimbalo a piano-forte \u00bb : avec accompagnement d\u2019une mandoline ou d\u2019un violon.<\/li>\n\n\n\n<li>\u00ab Armonia lugubre sentimentale \u00bb, opus V : pour instruments \u00e0 vent, \u00e0 la m\u00e9moire de Cimarosa.<\/li>\n\n\n\n<li>\u00ab Armonia lugubre \u00bb : sonate pour piano, \u00e0 la m\u00e9moire de Cimarosa.<\/li>\n<\/ul>\n<\/details>\n\n\n\n<div style=\"height:15px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>\u00c9crits d\u2019histoire et de th\u00e9orie musicale<\/strong><\/h2>\n\n\n\n<p>En tant qu\u2019historien de la musique, Bolaffi a r\u00e9dig\u00e9 la \u00ab Dissertation sur la musique moderne compar\u00e9e \u00e0 l\u2019ancienne \u00bb, un opuscule de quatorze pages dans lequel, \u00e0 travers une analyse minutieuse de l\u2019histoire de la musique, il expose ses r\u00e9flexions originales sur son \u00e9volution. La derni\u00e8re partie de la \u00ab Dissertation \u00bb est particuli\u00e8rement int\u00e9ressante, car elle esquisse un plan de r\u00e9forme des \u00e9coles de musique, de l\u2019enseignement et du th\u00e9\u00e2tre.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignright size-full is-resized\"><img fetchpriority=\"high\" decoding=\"async\" width=\"354\" height=\"500\" src=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2026\/04\/livre-D-Foti_redim.jpg\" alt=\"\" class=\"wp-image-131994\" style=\"aspect-ratio:0.7080218225904223;object-fit:cover;width:188px;height:auto\" srcset=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2026\/04\/livre-D-Foti_redim.jpg 354w, https:\/\/www.iemj.org\/wp-content\/uploads\/2026\/04\/livre-D-Foti_redim-212x300.jpg 212w\" sizes=\"(max-width: 354px) 100vw, 354px\" \/><\/figure>\n<\/div>\n\n\n<p>En tant que th\u00e9oricien, il a compos\u00e9 les \u00ab Principes de musique en octaves \u00bb, accompagn\u00e9s d\u2019un tableau d\u2019exemples (publi\u00e9s \u00e0 Florence par Giuseppe Lorenzi), ainsi qu\u2019un opuscule de quinze pages contenant des exemples musicaux intitul\u00e9 \u00ab Compendium raisonn\u00e9 des principes de musique \u00e0 l\u2019usage des \u00e9l\u00e8ves plus \u00e2g\u00e9s \u00bb. Enfin, une r\u00e9flexion philosophique sur l\u2019existence humaine, l\u2019art et la musique figure dans la brochure \u00ab Alcune mie idee sul gusto del secolo presente \u00bb, imprim\u00e9e \u00e0 Livourne en 1830.<\/p>\n\n\n\n<p><strong>Source et bibliographie<\/strong> : <\/p>\n\n\n\n<p>Domenica Foti, <em>Michele Bolaffi (1768 \u2013 1842. Un musicista toscano fra Sette e Ottocento. <\/em>Tricase (Lecce), Youcanprint, 2022<\/p>\n\n\n\n<p>Consulter l\u2019article de David Conway sur Academia : <a href=\"https:\/\/www.academia.edu\/1653371\/On_Michele_Bolaffi_an_Itinerant_Jewish_Musician\" target=\"_blank\" rel=\"noreferrer noopener\">\u201cOn Michele Bolaffi, an Itinerant Jewish Musician\u201d<\/a><\/p>\n\n\n\n<div style=\"height:15px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-columns are-vertically-aligned-center is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-vertically-aligned-center is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Michele Bolaffi SALMO 150 Allelui\u00e0 per Coro e Orchestra\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/2zPnm7nsc48?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>\n<\/div><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-vertically-aligned-center is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Havu Ladonai \u2013 Michele Bolaffi\" width=\"640\" height=\"480\" src=\"https:\/\/www.youtube.com\/embed\/_dGF9QkaqsE?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>\n<\/div><\/figure>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-buttons is-content-justification-center is-layout-flex wp-container-core-buttons-is-layout-16018d1d wp-block-buttons-is-layout-flex\"><\/div>\n\n\n\n<p><\/p>\n<div class=\"speaker-mute footnotes_reference_container\"> <div class=\"footnote_container_prepare\"><p><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_label pointer\" onclick=\"footnote_expand_collapse_reference_container_132010_1();\">&#x202F;<\/span><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_collapse_button\" style=\"display: none;\" onclick=\"footnote_expand_collapse_reference_container_132010_1();\">[<a id=\"footnote_reference_container_collapse_button_132010_1\">+<\/a>]<\/span><\/p><\/div> <div id=\"footnote_references_container_132010_1\" style=\"\"><table class=\"footnotes_table footnote-reference-container\"><caption class=\"accessibility\">References<\/caption> <tbody> \r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_132010_1('footnote_plugin_tooltip_132010_1_1');\"><a id=\"footnote_plugin_reference_132010_1_1\" class=\"footnote_backlink\">1<\/a><\/th> <td class=\"footnote_plugin_text\">Selon Herv\u00e9 Roten, la m\u00e9lodie de ce psaume est identique \u00e0 celle chant\u00e9e dans le Comtat Venaissin \u00e0 la fin du 19e. Voir recueil de Jules Salomon et Mardoch\u00e9e Cr\u00e9mieu, <em>Chants h\u00e9bra\u00efques suivant le rite des communaut\u00e9s isra\u00e9lites de l&#8217;ancien Comtat Venaissin<\/em> (1885), p. 169.<\/td><\/tr>\r\n\r\n <\/tbody> <\/table> <\/div><\/div><script type=\"text\/javascript\"> function footnote_expand_reference_container_132010_1() { jQuery('#footnote_references_container_132010_1').show(); jQuery('#footnote_reference_container_collapse_button_132010_1').text('\u2212'); } function footnote_collapse_reference_container_132010_1() { jQuery('#footnote_references_container_132010_1').hide(); jQuery('#footnote_reference_container_collapse_button_132010_1').text('+'); } function footnote_expand_collapse_reference_container_132010_1() { if (jQuery('#footnote_references_container_132010_1').is(':hidden')) { footnote_expand_reference_container_132010_1(); } else { footnote_collapse_reference_container_132010_1(); } } function footnote_moveToReference_132010_1(p_str_TargetID) { footnote_expand_reference_container_132010_1(); var l_obj_Target = jQuery('#' + p_str_TargetID); if (l_obj_Target.length) { jQuery( 'html, body' ).delay( 0 ); jQuery('html, body').animate({ scrollTop: l_obj_Target.offset().top - window.innerHeight * 0.2 }, 380); } } function footnote_moveToAnchor_132010_1(p_str_TargetID) { footnote_expand_reference_container_132010_1(); var l_obj_Target = jQuery('#' + p_str_TargetID); if (l_obj_Target.length) { jQuery( 'html, body' ).delay( 0 ); jQuery('html, body').animate({ scrollTop: l_obj_Target.offset().top - window.innerHeight * 0.2 }, 380); } 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