{"version":"1.0","provider_name":"Cantata Editions","provider_url":"https:\/\/cantataeditions.co.uk\/clone","author_name":"admin","author_url":"https:\/\/cantataeditions.co.uk\/clone\/author\/admin\/","title":"Editorial principles: The Scarlatti Cantatas - Cantata Editions","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"7gL0MbmxbD\"><a href=\"https:\/\/cantataeditions.co.uk\/clone\/articles\/editorial-principles-the-scarlatti-cantatas\/\">Editorial principles: The Scarlatti Cantatas<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/cantataeditions.co.uk\/clone\/articles\/editorial-principles-the-scarlatti-cantatas\/embed\/#?secret=7gL0MbmxbD\" width=\"600\" height=\"338\" title=\"&#8220;Editorial principles: The Scarlatti Cantatas&#8221; &#8212; Cantata Editions\" data-secret=\"7gL0MbmxbD\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script type=\"text\/javascript\">\n\/* <![CDATA[ *\/\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:\/\/cantataeditions.co.uk\/clone\/wp-includes\/js\/wp-embed.min.js\n\/* ]]> *\/\n<\/script>\n","description":"Principles used in Rosalind Halton&#8217;s Scarlatti EditionsContributor: Rosalind Halton My aim in editing Scarlatti&#8217;s work has been to work from the basis of his own notational practice, by studying as many as possible of his extant autograph manuscripts, both cantatas and operas. Some of these manuscripts (Olimpia, Non s\u00f2 qual pi\u00f9 m&#8217;ingombra, Peno, Perdono) form [&hellip;]","thumbnail_url":"https:\/\/cantataeditions.co.uk\/clone\/wp-content\/uploads\/2019\/04\/ombra-268x300.png"}