{"id":5076,"date":"2026-06-20T22:21:16","date_gmt":"2026-06-20T22:21:16","guid":{"rendered":"https:\/\/rezaelrosario.org\/marian-music"},"modified":"2026-06-20T22:21:16","modified_gmt":"2026-06-20T22:21:16","slug":"marian-music","status":"publish","type":"page","link":"https:\/\/rezaelrosario.org\/de\/marian-music","title":{"rendered":"Marian Music"},"content":{"rendered":"
<\/figcaption><\/figure>\nMarian
\nMusic: Gregorian chant, polyphony and Spanish popular song<\/h1>\n
\n

1. Marian Gregorian chants<\/h2>\n

Gregorian chant \u2014monodic, modal, unaccompanied\u2014 is the original
\nvoice of the Latin Church praying to Mary. The Liturgia
\nHorarum<\/em> establishes four major Marian
\nantiphons<\/strong> that close Compline and rotate according to the
\nliturgical season. Official versions in the Antiphonale Romanum<\/em> and
\nLiber Usualis<\/em>.<\/p>\n

1.1 Alma
\nRedemptoris Mater<\/em> (Advent \u2014 2 February)<\/h3>\n

Attribution:<\/strong> Hermann Contractus (Reichenau,
\n1013-1054).<\/p>\n

Latin text:<\/strong> > Alma Redemptoris Mater, quae
\npervia caeli porta manes, et stella maris, succurre cadenti, surgere qui
\ncurat, populo: tu quae genuisti, natura mirante, tuum sanctum Genitorem:
\nVirgo prius ac posterius, Gabrielis ab ore sumens illud Ave, peccatorum
\nmiserere.<\/em><\/p>\n

English:<\/strong> > Loving Mother of the Redeemer, who
\nremain the open gate of heaven and star of the sea, come to the aid of
\nyour people who fall yet strive to rise again. Before the wonder of
\nheaven and earth you bore your holy Creator, and remain ever a Virgin.
\nReceive the greeting of the angel Gabriel and have mercy on sinners.<\/p>\n

Season:<\/strong> First Vespers of the First Sunday of Advent \u2192
\nthe Presentation of the Lord (2 February).<\/p>\n

Polyphonic settings of the text: Palestrina, Victoria (for 5 and 8 voices),
\nDufay, Josquin.<\/p>\n

1.2 Ave Regina
\nCaelorum<\/em> (Lent \u2014 the Triduum)<\/h3>\n

Latin text:<\/strong> > Ave, Regina caelorum, ave,
\nDomina Angelorum, salve radix, salve porta, ex qua mundo lux est orta.
\nGaude, Virgo gloriosa, super omnes speciosa; vale, o valde decora, et
\npro nobis Christum exora.<\/em><\/p>\n

English:<\/strong> > Hail, Queen of heaven and Lady
\nof the angels; hail, root, hail, gate, through whom the Light came into the world.
\nRejoice, glorious Virgin, lovely beyond all others; hail, gracious
\nmaiden: pray to Christ for us.<\/p>\n

Season:<\/strong> 2 February \u2192 Wednesday of Holy Week (in recent
\nuse until Holy Thursday).<\/p>\n

Antiphon of penitential recollection. More austere than the
\nSalve<\/em>.<\/p>\n

1.3 Regina Caeli<\/em> (Eastertide)<\/h3>\n

Latin text:<\/strong> > Regina caeli, laetare,
\nalleluia: Quia quem meruisti portare, alleluia, Resurrexit, sicut dixit,
\nalleluia. Ora pro nobis Deum, alleluia.<\/em><\/p>\n

English:<\/strong> > Queen of heaven, rejoice, alleluia;
\nfor he whom you were worthy to bear, alleluia, has risen
\nas he said, alleluia. Pray for us to God, alleluia.<\/p>\n

Season:<\/strong> the Easter Vigil \u2192 Pentecost. It replaces the
\nAngelus<\/em> during Eastertide (Benedict XIV, Annus qui<\/em>,
\n1749).<\/p>\n

Mozart set it as an early work (Regina Coeli<\/em> K.
\n276).<\/p>\n

1.4 Salve
\nRegina<\/em> (Ordinary Time \/ per annum<\/em>)<\/h3>\n

Attribution:<\/strong> traditionally to Hermann Contractus;
\nothers attribute it to Pedro de Mezonzo (bishop of Compostela, \u20201003).<\/p>\n

Latin text:<\/strong> > Salve, Regina, Mater
\nmisericordiae, vita, dulcedo et spes nostra, salve. Ad te clamamus,
\nexsules filii Hevae. Ad te suspiramus, gementes et flentes in hac
\nlacrimarum valle. Eia ergo, advocata nostra, illos tuos misericordes
\noculos ad nos converte; et Iesum, benedictum fructum ventris tui, nobis
\npost hoc exsilium ostende. O clemens, o pia, o dulcis Virgo
\nMaria.<\/em><\/p>\n

English:<\/strong> see the \u00ab06_oraciones.md\u00bb block.<\/p>\n

Season:<\/strong> the Monday after Pentecost \u2192 the Saturday before
\nthe First Sunday of Advent.<\/p>\n

It was sung by Saint Bernard of Clairvaux at Speyer (1146)<\/strong>
\nthree times before the image; the Cistercians incorporated it into their
\nprocessions.<\/p>\n

Polyphonic settings: Josquin, Victoria, Palestrina, Lassus, Charpentier,
\nPergolesi, Schubert, Brahms, Liszt, Poulenc, P\u00e4rt.<\/p>\n

1.5 Other Marian Gregorian
\npieces<\/h3>\n
    \n
  • Ave Maris Stella<\/strong>: hymn of Marian Vespers,
    \nattributed to the monk Paul the Deacon (8th c.).<\/li>\n
  • Magnificat (the eight tones)<\/strong>: Lk 1:46-55, sung
    \neach evening at Vespers.<\/li>\n
  • Stabat Mater<\/strong>: sequence for the Friday of Sorrows,
    \nattributed to Jacopone da Todi (13th c.). Most famous setting: Pergolesi
    \n(1736).<\/li>\n
  • Sub tuum praesidium<\/strong>: the oldest known Marian
    \nprayer in Christianity (Rylands Papyrus 470, c. 250).<\/li>\n
  • Inviolata, Salve Sancta Parens, Tota Pulchra es<\/strong>:
    \ncomplementary Marian Gregorian repertoire.<\/li>\n<\/ul>\n
    \n

    2. Marian
    \npolyphony of the Renaissance and Baroque<\/h2>\n

    2.1 The Spanish school<\/h3>\n

    Crist\u00f3bal de Morales<\/strong> (Seville c. 1500 \u2013 M\u00e1laga
    \n1553). Chapel master of Toledo Cathedral and a singer in the
    \nSistine Chapel. Magnificat<\/em> on the eight tones (Venice
    \n1545), Marian motets (Tota pulchra es<\/em>, Ave Maria<\/em>),
    \nMissa Ave maris stella<\/em>.<\/p>\n

    Francisco Guerrero<\/strong> (Seville 1528-1599). The most
    \nMarian of the Spanish polyphonists. Master of Seville
    \nCathedral. Canciones y villanescas espirituales<\/em> (Venice 1589)
    \nwith Marian pieces in Spanish. Two books of Magnificats (1563),
    \nAve Virgo sanctissima<\/em>, Salve Regina<\/em>, Surge propera
    \namica mea<\/em>. He made a pilgrimage to the Holy Land.<\/p>\n

    Tom\u00e1s Luis de Victoria<\/strong> (\u00c1vila c. 1548 \u2013 Madrid
    \n1611). The summit. Chaplain to the Empress Mar\u00eda of Austria at the
    \nDescalzas Reales. Marian works: – Magnificat<\/em> on the eight tones
    \nin a simple version and for double choir – Missa Ave maris stella<\/em>
    \n(1576), Missa Salve Regina<\/em> (1592) – Missa Alma Redemptoris
    \nMater<\/em>, Missa Ave Regina caelorum<\/em> – Motets: O magnum
    \nmysterium<\/em>, Ave Maria<\/em> (for 4 and 8 voices), Vere
    \nlanguores<\/em>, Sancta Maria succurre miseris<\/em>, Salve
    \nRegina<\/em> for 5, 6 and 8 voices – Officium Defunctorum<\/em> (1605) for
    \nthe Empress<\/p>\n

    Complete works edited by Felipe Pedrell (1902-1913) and reissued
    \nby the CSIC under Higinio Angl\u00e9s.<\/p>\n

    2.2 The Roman school<\/h3>\n

    Giovanni Pierluigi da Palestrina<\/strong> (1525-1594).
    \nStabat Mater<\/em> for double choir (8 voices), Missa Assumpta est
    \nMaria<\/em> (for 6), Missa de Beata Virgine<\/em>, and abundant Marian
    \nmotets.<\/p>\n

    Orlando di Lasso<\/strong> (Flanders 1532 \u2013 Munich 1594).
    \nMagnificat<\/em> on the eight tones, Salve Regina<\/em> for 6 voices,
    \nLitaniae Lauretanae<\/em> (one of the first cycles on the
    \nLitany of Loreto).<\/p>\n

    2.3 The Baroque<\/h3>\n
      \n
    • Claudio Monteverdi<\/strong> \u2014 Vespro della Beata
      \nVergine<\/em> (1610). A masterpiece of the early Baroque.<\/li>\n
    • Antonio Vivaldi<\/strong> \u2014 Stabat Mater<\/em> RV 621
      \n(1712).<\/li>\n
    • Giovanni Battista Pergolesi<\/strong> \u2014 Stabat Mater<\/em>
      \n(1736). His last work, written as he was dying. A fundamental
      \npiece.<\/li>\n
    • Johann Sebastian Bach<\/strong> \u2014 Magnificat<\/em> BWV 243
      \nin D major (1733).<\/li>\n
    • Antonio Caldara<\/strong> \u2014 Stabat Mater<\/em> (c.
      \n1725).<\/li>\n
    • Marc-Antoine Charpentier<\/strong> \u2014 Salve Regina<\/em>,
      \nLitanies de la Vierge<\/em>.<\/li>\n<\/ul>\n
      \n

      3. Romantics and moderns<\/h2>\n
        \n
      • Gioachino Rossini<\/strong> \u2014 Stabat Mater<\/em> (1841).
        \nOperatic.<\/li>\n
      • Giuseppe Verdi<\/strong> \u2014 Laudi alla Vergine Maria<\/em>
        \nin the Quattro pezzi sacri<\/em> (1898), on Canto XXXIII of
        \nDante’s Paradiso<\/em>.<\/li>\n
      • Anton\u00edn Dvo\u0159\u00e1k<\/strong> \u2014 Stabat Mater<\/em> op. 58
        \n(1877), after the death of his three children.<\/li>\n
      • Anton Bruckner<\/strong> \u2014 Ave Maria<\/em> WAB 6 (1861),
        \nTota pulchra es<\/em> WAB 46, Virga Jesse<\/em> WAB 52.<\/li>\n
      • Gabriel Faur\u00e9<\/strong> \u2014 Tantum ergo<\/em>, Salve
        \nRegina<\/em> op. 67 no. 1, Ave Maria<\/em>.<\/li>\n
      • Wolfgang Amadeus Mozart<\/strong> \u2014 Regina Coeli<\/em> K.
        \n276, Litaniae Lauretanae<\/em> K. 109 and K. 195, Sub tuum
        \npraesidium<\/em> K. 198.<\/li>\n
      • Franz Schubert<\/strong> \u2014 Ellens dritter Gesang<\/em> D.
        \n839 (1825). Originally NOT a liturgical Ave Maria<\/em>: it is the
        \nprayer of Ellen Douglas, a character of Walter Scott. It has been sung with the
        \nLatin text of the Ave Maria<\/em> since the 19th century.<\/li>\n
      • Charles Gounod<\/strong> \u2014 Ave Maria<\/em> (1853),
        \na melodic overlay on the Prelude in C major of Bach’s
        \nWell-Tempered Clavier<\/em> I.<\/li>\n
      • Edward Elgar<\/strong> \u2014 Ave verum<\/em>, Ave
        \nMaria<\/em>, Ave maris stella<\/em>.<\/li>\n
      • Arvo P\u00e4rt<\/strong> \u2014 Magnificat<\/em> (1989), Stabat
        \nMater<\/em> (1985), Salve Regina<\/em> (2002). Tintinnabuli<\/em>
        \nstyle.<\/li>\n
      • Francis Poulenc<\/strong> \u2014 Litanies \u00e0 la Vierge
        \nNoire<\/em> (1936), after his conversion at Rocamadour.<\/li>\n<\/ul>\n
        \n

        4.1 Salve marinera<\/em><\/h3>\n

        Correct attribution:<\/strong> music by Crist\u00f3bal
        \nOudrid<\/strong> (Badajoz 1825 \u2013 Madrid 1877), from the zarzuela El
        \nmolinero de Subiza<\/em> (premiered in Madrid on 21 December 1870,
        \nlibretto by Luis de Egu\u00edlaz). Lyrics adapted by Mariano M\u00e9ndez
        \nVigo<\/strong>.<\/p>\n

        Military adoption:<\/strong> in 1872, the midshipmen of the
        \ntraining frigate Asturias<\/em> in Ferrol began to sing it after
        \nSunday Mass. In 1942 the Ministry of the Navy commissioned Camilo P\u00e9rez
        \nMonllor to make the official harmonization. Today it is the anthem of the Spanish Navy.<\/p>\n

        Text:<\/strong> > Hail, Star of the seas, \/ of the
        \nseas, Rainbow of eternal joy. \/ Hail, O Phoenix of beauty, \/ Mother
        \nof Divine Love. \/ In your people’s sorrows,
        \nyour mercy gives consolation; \/ fervently may our cry rise to Heaven, \/
        \nto You, to You. \/ Hail, Mother, Hail, hail, Star of the seas, \/
        \nMother of the seas.<\/p>\n

        4.2 The Salve of El Roc\u00edo and
        \nMarian sevillanas<\/h3>\n

        Sevillanas to the Virgin of El Roc\u00edo (Almonte), the Macarena, La Esperanza
        \nde Triana, the Virgin of La Cabeza. The well-known Dios te salve Roc\u00edo<\/em>
        \nwas composed by Zita Soler Reyes.<\/p>\n

        4.3 Saetas<\/h3>\n

        An a cappella song \u00abde palo seco\u00bb (unaccompanied) that rises as the
        \nimages pass in Holy Week processions. Documented origin:
        \nFranciscan couplets of the 16th-17th centuries. A mixed musical substrate:
        \nechoes of the Islamic muezzin<\/em>, Sephardic psalmody and liturgical
        \nchant. The flamenco saeta dates from c. 1840.<\/p>\n

        4.4 Gozos \/ Goigs<\/em><\/h3>\n

        A medieval strophic form (rooted in the Proven\u00e7al troubadour dance):
        \nrefrain + heptasyllabic stanzas + envoi. Documented since the
        \nCr\u00f3nica de Ramon Muntaner<\/em> (13th-14th c.). In Catalonia, Valencia,
        \nAragon and the Balearics, every parish, hermitage or shrine has its own
        \ngoigs<\/em> to the local title. The Amics dels
        \nGoigs<\/em> Association has existed since 1854<\/strong>. The Goigs del Roser<\/em> are the most
        \npopular in Catalonia.<\/p>\n

        4.5 Notable regional
        \nhymns<\/h3>\n
          \n
        • Jota to the Virgin of El Pilar<\/strong>: \u00abThe Virgin of El Pilar says
          \n\/ that she does not want to be French, \/ that she wants to be captain \/
          \nof the Aragonese troops\u00bb. A popular couplet of the 19th century (Peninsular
          \nWar, 1808).<\/li>\n
        • Virolai<\/strong> (Montserrat): \u00abRosa d’abril, Morena de la
          \nserra\u00bb. Text by Jacint Verdaguer (1880), music by Josep Rodoreda i
          \nSantig\u00f3s, winner of the competition for the Millennium of Montserrat (20 February
          \n1880, among 68 compositions). It is sung daily at noon by the
          \nEscolania of Montserrat.<\/li>\n
        • Asturian Salve marinera<\/strong> (\u00abSalve, Madre, en la
          \ntierra de Asturias\u00bb): a popular hymn to the Virgin of Covadonga.<\/li>\n
        • Hymn to the Virgin of El Pilar<\/strong> (\u00abBendita y alabada\u00bb):
          \npopular in Aragon.<\/li>\n<\/ul>\n

          4.6 The Lourdes hymn \u2014 \u00abAve,
          \nave, ave Mar\u00eda\u00bb<\/h3>\n

          Original lyrics: Abb\u00e9 Jean Gaignet<\/strong> (Vend\u00e9e), 1873,
          \non the occasion of a pilgrimage to Lourdes. Melody taken from a hymn
          \nby Louis Lambillotte (1842). Later extended versions reach up to 68
          \nstanzas (a complete account of the 18 apparitions). Best-known Spanish
          \nadaptation: the Jesuit Juan Iruarr\u00edzaga.<\/p>\n

          4.7 Hymn to Our Lady
          \nof F\u00e1tima \u2014 \u00abAv\u00e9 de F\u00e1tima\u00bb<\/h3>\n

          Lyrics by Afonso Lopes Vieira<\/strong>, music by Rui
          \nCoelho<\/strong>. It appeared in the F\u00e1tima pilgrim’s manual in 1926.
          \nIts litanic structure (Ave, Ave, Ave Maria<\/em> as the people’s
          \nresponse) links it to the Lourdes hymn.<\/p>\n

          \n

          5. Chants for the sung
          \nRosary<\/h2>\n

          The sung Rosary was a deeply rooted tradition in Hispanic families and
          \nconfraternities. The practice has been established since the late 16th century
          \n(Dominicans). The Rosary of the Dawn<\/strong> (Rosario de la Aurora)
          \n\u2014a sung procession at daybreak in Castilian and Andalusian towns\u2014 is a
          \ntypical expression.<\/p>\n

          Repertoire:<\/strong> – \u00abSalve, Madre\u00bb (a refrain between
          \nmysteries) – \u00abEs Mar\u00eda la blanca paloma\u00bb (Castile) – \u00abMira el roc\u00edo\u00bb
          \n(Almonte) – \u00abDios te salve, Mar\u00eda\u00bb sung (a popular syllabic melody) –
          \n\u00abAve Mar\u00eda de Lourdes\u00bb among dozens.<\/p>\n

          The Litany of Loreto is sung at the end with the Gregorian melody
          \nof the simple Kyrie<\/em> or with popular harmonizations.<\/p>\n

          \n

          6. Chants of the month of May<\/h2>\n

          May becomes established as the \u00abmonth of Mary\u00bb in the 18th century (the
          \nJesuit Annibale Dionisi, Il mese di Maggio<\/em>, 1725) and spreads in
          \nSpain in the 19th.<\/p>\n

            \n
          • \u00abVenid y vamos todos, con flores a porf\u00eda\u00bb<\/strong> \u2014
            \nthe best-known version by the Jesuit Nemesio Ota\u00f1o<\/strong>
            \n(1880-1956). The signature chant of the offering of the
            \nflowers<\/em>.<\/li>\n
          • \u00abOh Virgen del Pilar bella\u00bb<\/strong> \u2014 Aragon.<\/li>\n
          • \u00abReina y Madre\u00bb<\/strong> \u2014 widespread in Spain.<\/li>\n
          • \u00abSalve Madre, en la tierra de Asturias\u00bb<\/strong> \u2014
            \nCovadonga.<\/li>\n
          • \u00abCon flores a Mar\u00eda\u00bb<\/strong> \u2014 a refrain common to several
            \nmelodies.<\/li>\n
          • \u00abMar\u00eda, llena de gracia\u00bb<\/strong> \u2014 Kiko Arg\u00fcello, the
            \nNeocatechumenal Way.<\/li>\n<\/ul>\n
            \n

            7. Public-domain resources<\/h2>\n

            IMSLP scores (public
            \ndomain)<\/h3>\n
              \n
            • imslp.org\/wiki\/Category:Victoria,_Tom\u00e1s_Luis_de \u2014 complete works<\/li>\n
            • Pergolesi’s Stabat Mater P. 77<\/li>\n
            • Palestrina’s Alma Redemptoris Mater<\/li>\n
            • 16 Magnificats by Victoria<\/li>\n
            • Cancionero de Palacio (Angl\u00e9s)<\/li>\n<\/ul>\n

              Recordings on the Internet
              \nArchive<\/h3>\n
                \n
              • Liber Usualis<\/em> 1961, 1913 and 1949 \u2014 complete PDFs<\/li>\n
              • 102 Cantos Gregorianos<\/em> \u2014 the Monks of Silos<\/li>\n
              • Facsimile of Victoria’s Missae, Magnificat, Motecta, Psalmi<\/em><\/li>\n<\/ul>\n

                Gregorian resources online<\/h3>\n
                  \n
                • GregoBase \u2014 scanned Gregorian scores
                  \n(gregobase.selapa.net)<\/li>\n
                • Corpus Christi Watershed \u2014 Gregorian PDFs (ccwatershed.org)<\/li>\n
                • \u00c9ditions de Solesmes (solesmes.com) \u2014 interpretive reference<\/li>\n
                • gregorian-chant-hymns.com \u2014 hymns in square notation<\/li>\n<\/ul>\n

                  Traditional Spanish
                  \nsongbooks<\/h3>\n
                    \n
                  • Fundaci\u00f3n Joaqu\u00edn D\u00edaz (funjdiaz.net) \u2014 database of Castilian
                    \nfolklore<\/li>\n
                  • Higinio Angl\u00e9s<\/strong>, Monumentos de la M\u00fasica
                    \nEspa\u00f1ola<\/em> (CSIC, from 1941)<\/li>\n
                  • Samuel Rubio<\/strong>, La polifon\u00eda cl\u00e1sica<\/em>
                    \n(El Escorial, 1956)<\/li>\n
                  • Miguel Manzano<\/strong>, Cancionero Leon\u00e9s<\/em> (3 vols,
                    \n1988-1991)<\/li>\n
                  • Felipe Pedrell<\/strong>, Cancionero Musical Popular
                    \nEspa\u00f1ol<\/em> (4 vols, 1918-1922)<\/li>\n
                  • Diego Catal\u00e1n<\/strong>, Romancero Tradicional<\/em>
                    \n(Seminario Men\u00e9ndez Pidal, CSIC)<\/li>\n<\/ul>\n

                    Free choral and polyphonic music<\/h3>\n
                      \n
                    • ChoralWiki \/ CPDL (cpdl.org) \u2014 scores for several voices in the public
                      \ndomain<\/li>\n<\/ul>\n
                      \n

                      Sources<\/h2>\n

                      Academic and monastic<\/strong> – Liber Usualis<\/em>,
                      \nSolesmes, 1961 edition – Graduale Romanum<\/em>, Solesmes, 1974 –
                      \nAntiphonale Romanum<\/em>, Solesmes – Higinio Angl\u00e9s, La m\u00fasica
                      \nen la Corte de los Reyes Cat\u00f3licos<\/em>, CSIC, 1941-1965 – Samuel Rubio,
                      \nLa polifon\u00eda cl\u00e1sica<\/em>, Biblioteca \u00abLa Ciudad de Dios\u00bb, El
                      \nEscorial, 1956 – Samuel Rubio, T\u00e9cnica, estilo y expresi\u00f3n de la
                      \npolifon\u00eda de Crist\u00f3bal de Morales<\/em>, CSIC, 1969 – Felipe Pedrell,
                      \nCancionero Musical Popular Espa\u00f1ol<\/em>, Boileau, 1918-1922 – Miguel
                      \nManzano, Cancionero Leon\u00e9s<\/em>, Diputaci\u00f3n de Le\u00f3n, 1988-1991<\/p>\n

                      Verified digital resources<\/strong> – IMSLP, CPDL,
                      \nInternet Archive, Solesmes, GregoBase – Corpus Christi Watershed –
                      \nFundaci\u00f3n Joaqu\u00edn D\u00edaz – Abbey of Montserrat – Centro Andaluz de
                      \nDocumentaci\u00f3n del Flamenco – Palacio del Rosario – Lourdes<\/p>","protected":false},"excerpt":{"rendered":"

                      Marian Music: Gregorian chant, polyphony and Spanish popular song 1. Marian Gregorian chants Gregorian chant \u2014monodic, modal, unaccompanied\u2014 is the original voice of the Latin Church praying to Mary. The Liturgia Horarum establishes four major Marian antiphons that close Compline and rotate according to the liturgical season. Official versions in the Antiphonale Romanum and Liber […]<\/p>\n","protected":false},"author":0,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"slim_seo":{"title":"Marian Music - Reza el Rosario","description":"Marian Music: Gregorian chant, polyphony and Spanish popular song 1. Marian Gregorian chants Gregorian chant \u2014monodic, modal, unaccompanied\u2014 is the original voi"},"footnotes":""},"class_list":["post-5076","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/rezaelrosario.org\/de\/wp-json\/wp\/v2\/pages\/5076","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/rezaelrosario.org\/de\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/rezaelrosario.org\/de\/wp-json\/wp\/v2\/types\/page"}],"replies":[{"embeddable":true,"href":"https:\/\/rezaelrosario.org\/de\/wp-json\/wp\/v2\/comments?post=5076"}],"version-history":[{"count":0,"href":"https:\/\/rezaelrosario.org\/de\/wp-json\/wp\/v2\/pages\/5076\/revisions"}],"wp:attachment":[{"href":"https:\/\/rezaelrosario.org\/de\/wp-json\/wp\/v2\/media?parent=5076"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}