[00:00:01] Speaker A: You're Tuning into Solan era, a series from De lis that brings together musicians from around the world to share music stories and scholarship with a global audience of early music lovers. I'm Deborah Nagy, and this is the third episode of our fourth season, Songs for Social Justice.
In this episode, we'll hear from two very special guests, counter tenor Michael Walker and tenor Hatham Hadar, who will reflect on representation and identity through the musical selections they've chosen to share and how music has helped them process difficult emotions.
Hatham, a Palestinian Lebanese immigrant, identifies with songs and sounds that resonate with his personal quest to find a home away from home, peace, and a sense of belonging. Though some of his earliest musical experiences were in pop and musical theater, Hatham gravitated towards early music during college at the University of British Columbia.
The gritty, organic sound quality of period instruments and the attention brought to things not on the page, from musical interpretation to ornamentation and being in the moment held profound appeal. More recently, it was revelation for Hatham when he began to introduce Arabic music into his artistic practice and concert work, and he'll talk with us about how it has expanded his musicianship and relationship to early repertoires.
Music has long been a path for healing and emotional release for listeners and practitioners alike. People look to music and to songs to calm them, to inspire or motivate, or to give voice to their feelings, whether elation, heartbreak, or frustration.
It was no surprise, then, that both Hatham and Michael felt a deep connection with melancholy songs from the 17th century in England.
In this episode, we'll hear John Dowlen's famous in Darkness Let Me dwell from his collection Pilgrim Solace and grief keep within an intensely emotional lament by a contemporary of Dowland, John Daniel.
Michael Walker sees song as the original method to build empathy. Songs are stories, and they are central to the human experience. They are a way to work our empathetic muscle. Beyond Dowland and an anthem of protest by William Bird, Michael will share his thoughts on the interplay between spiritual gospel and early music.
For instance, in Harry Burley's arrangement of sometimes I feel like a motherless child. Reimagined here with period instruments, Michael considers how many different ways that he and others connect with a text that is about longing and wanting to find community.
This episode was recorded before a live audience at Heights Theater in Cleveland Heights, Ohio. Thanks to all of those who made our very first salon era session possible, including our Salon era session sponsors Tova Klein in memory of Bob and Nancy Klein and Joseph Sopko and Betsy McIntyre, as well as our salon era season four underwriters, including Deborah Malamud, Tom and Marilyn McLaughlin, Greg Noson and Brandon Rood, and the National Endowment for the Arts, Ohio Arts Council, Early Music America, Cuyahoga Arts and Culture, as well as ideastream public media.
I'm so very pleased to welcome Michael and Hatham to Saladia.
I'd love to chat first with you, Hatham, and I know I gave you a sort of a long introduction.
[00:04:12] Speaker B: Thank you.
[00:04:13] Speaker A: But I would love to learn a little bit more and have the opportunity to share about your background, how you came to North America, and some formative experiences in music.
[00:04:25] Speaker C: Absolutely. So thank you, everyone, for being here with us.
My first memory, mostly not a memory, mostly captured on Camcorder from the early 90s, is my older brother putting me in outfits and costumes to perform for our parents. So we used to do full on hour long shows that included skits, musical numbers, lip syncs, even Spice Girls were some of my favorites to lip sync, too.
That is kind of my beginning, first venture into music.
I immediately then in elementary school, joined elementary school choir. During recess breaks, I would go and bug my music teacher and ask her if I can sing something for her. And she's like, but what for? And I'm like, because I just want to sing for you, and I want you to tell me if it's good or not. And that kind of took me into the land of music, and that's how I kind of explored what music meant to me and what it was like in Lebanon. In the morning. Every morning, you'll wake up and on the radio you'll hear music and you'll smell the smell of coffee. And so music is always in there. And that took me into what I want to do as a human in this world. And then I moved to Vancouver when I was 18, and I started my studies at the University of British Columbia, and I did my classical Western studies. And I absolutely loved, I had already fallen in love with Baroque music.
I heard Handel's Dixie Dominus when I was 17, and that just kind of, I was like, it's so dramatic, and if you know me, you'll see that that's part of my personality. So I love positive drama, which I call expression and passion.
So, yeah, that kind of took me down the venture of mostly what we call early music.
[00:06:31] Speaker A: Absolutely. And we have a really rich and very varied program this afternoon. We're going to start with Negresoume, which comes from Claudio Monteverde's famous Vespers, which was a selection that you made, and you suggested that it would be a great way to welcome everyone. And I wonder if you could speak more to this choice and what this piece is about and what it means to you.
[00:06:56] Speaker D: Yeah.
[00:06:57] Speaker C: So the first line of this text in Latin is Negra sum said Formoza, I am black but beautiful.
The text was often changed into Negra sum ed Formoza and beautiful.
But really, what this piece is about is telling us that though I am not what you see or what you deem as beautiful or welcome, I am still loved and welcomed by something that is much larger than what you are offering. And so my connection to this piece, other than the fact that as an early music tenor, this is standard repertoire that we do, and I should know this aria, all that kind of stuff, there's something deeper that we need to look at when we look at music. And why am I speaking this text, right? Why am I choosing to share this with the world? What do I have to say through this text? And to me, it's as an immigrant. Not every space I entered was welcoming. Not every space I entered was accepting. I would say most were not.
And thus this text shows me that, hey, just because I'm not what you think I should look like, speak like, sound like any of that, I am welcome. I am here. And I think it's the most beautiful kind of.
It's a strong belief that there is something much larger than what we are doing that allows us all to be present at the same time. So here's Nikra soon beautiful.
[00:08:45] Speaker B: Savior for more the heart.
Love Jesus.
Search for all Jesus. You come, Sumi, come.
Jenny Van.
See that? What I suppose in the.
In the chest.
You.
[00:12:45] Speaker A: Welcome, Michael.
It has been so great to get to know you also through the process of creating and programming this project or episode. And I wonder if you could share with us a little bit about where you're from, your background, your formative experiences in music.
[00:13:07] Speaker D: Yeah, no problem. Hello, everyone. So glad to be here today to speak with you. I am originally from Orange County, California. I'm son of an engineer and healthcare administrator, yet we were all into music. So my formative kind of music experiences was I picked up piano, then I started to do a little bit of trumpet. But because of a mishap with my trumpet, I was then kicked out of band and put into choir. But that could have been the best thing for me because there I found my voice and I found what I really should be doing through that exploration. My family is a very musical family. The reason why I did want to do trumpet was because my dad was a trumpet player, but my mom was a singer, my sister's a singer. We're all singers. So I sang in the church. We sang gospel. I love making music together. And my mom had a book called Songs of Zion, which is a collection of gospels, spirituals, and other Negro folk songs. And so as a young boy with my limited piano skills, I would go and take that book off the shelf and play through the majority of that music and found a real deep love for one spirituals, which is a very big part of my heritage and my experience, but also just found a very deep love for music. And through that, I stayed in choir, kept pursuing things, and then fell down this rabbit hole of early music, which, where I am today, fell in love with Renaissance, fell in love with medieval music, and then went to IU and got even more exposed to that. And so, yeah, that's how I came to music.
[00:14:53] Speaker A: And can I ask how or when you found your countertenor voice?
[00:14:58] Speaker D: Yeah. So I've always sung in my falsetto. I thought it was a fun thing to do, and it actually wasn't until I went to college. So I went to the school called Mount Sack, and we were traveling choir, and we did all this singing and whatnot. And my professor, Bruce Rogers, he came up to me and said, hey, I have this solo that I think you should audition for. Wink, wink, right? And he hands me this solo, which is the chanticleer still away, and it has a lovely countertinor solo. And so I sang that solo, and I was like, wow. Someone heard this part of my voice that I love to sing in, and they wanted to showcase it. So I picked it up, and it was wonderful. And so I went to my voice teacher and I said, I think I want to give this a try.
Countertinters all have a different experience with that. My voice teacher wanted me to stay a baritone, so it actually took me about three years until I found a teacher that said that they would explore the countertiner voice with me. And then when they did, I also went to choir, and I said, I only want to sing alto. And so that was where I really found my voice. And Tesserator is a real thing where the voice likes and lies, where it likes to sing. I found out that that is where I like to sing. Found out that there was this whole trove of repertoire for me, and I was just like. I was sold.
[00:16:26] Speaker A: I always think it's so interesting to hear from countertenors, really, how they found their voice, because I recognize there's a journey for everyone, and it's unique. And it's interesting to hear also, that this initial voice teacher was like, nah.
It takes also a perseverance and a dedication to keep following that and pursuing it. So that's really special.
The first song that you're going to sing for us and with us is a spiritual. Sometimes I feel like a motherless child. And can you talk to us about this choice and or your personal connection with this piece?
[00:17:12] Speaker D: Yeah. So, as I stated earlier, kind of my formative music experiences was the Song of Zion Book. And this book had tons of spirituals that I just fell in love with.
And with my experience as being a black kid in a predominantly white part of our country, which is Orange County, California, I was definitely an other.
And then I was also dealing with my sexuality at that point, too, as being a gay man. So there was just a lot of things going on. And music was this way. Especially spirituals was this way for me to connect with those emotions and deal with those kind of things, feel seen and feel heard and so with. Sometimes I feel like a motherless child. The reason why I chose this piece, when we're talking about social justice, this piece meant a lot to me when I was young, because it wasn't that I felt like a motherless child at all, but it was that I felt different, and I didn't know that I quite belong. And it was a way to kind of deal with that emotion and then to realize that others are dealing with that emotion. We all deal with that emotion. And then I thought, when Deborah approached me for this program, that it was very appropriate to bring this piece to this program. The Negro Spirituals are a collection of mostly religious songs. They are also work songs and their songs of release.
The Negro experience of being brought to America in the early 16 hundreds was a very brutal experience, and one that I hope no one else has to live through. And so with that being said, this speaks to the indigenous, the folk song, their experience here in this world. And at that time, when slaves were brought over, a lot of them were separated from their families. And so that is where this song springs from. They believe that this song, even though we don't know the exact authors of most of these songs, we do believe that this song sprung from a mother who was separated from her child and kind of had to deal with that. And I think about that in today, that these themes kind of reoccur with us separating immigrants and all that kind of stuff that's happening now. People are still experiencing these things. And so song is a way to build empathy and for us to kind of cross that barrier to see what it's like to be that other, even though we may be the other to them. And so I wanted to share this song because it was a way for that person at that time, for all of us to deal with kind of that emotion of not feeling where you're supposed to be and or being separated from your community.
[00:20:13] Speaker A: Beautiful. Let's hear it.
[00:20:15] Speaker B: Sa.
Sometimes I feel like I raise for.
Sometimes I feel like I.
Sometimes I feel like. I sometimes feel like.
[00:23:10] Speaker A: I have to say thank you not only for that very beautiful performance. You've shared this piece with us early music people, and I don't know that I will ever again play that piece on the recorder or possibly any other instrument, but it's a great privilege, and I thank you for sharing that with me.
Of course, this was an arrangement for piano and voice by Harry Burley from the early 20th century that we have reimagined with Theorbo, viola de Gamba and recorder. And the next piece that you're going to perform for us is very famous, one of the most famous sad songs in the repertory, John Dowan's in Darkness Let me dwell. I wondered if you could talk to us about why you chose this piece and what it means for you personally.
[00:24:10] Speaker D: Yeah.
Again, just like leaning into that, songs are an avenue for empathy. Songs are an avenue for us to share. One thing that I like to think about is we all think the same. We all think differently. Diversity of thought is a wonderful thing, but we all feel the same. We all know what depression is. We all know what happiness is. We all know what sadness is. And music is a way for us to express those feelings, to deal with those feelings, and to release those feelings if they're negative and we don't want to dwell in them. So the reason why I chose in darkness, let me dwell is because it connects with me.
I enjoy Melancholia a lot, mainly because when you're just dealing with negative emotions, it's nice to just let them out, and it's a way to release those emotions and not kind of wallow in them. And so in darkness, let me dwell is one of those songs that you can have that moment to kind of dwell in your sadness and your grief, in your longing for peace in your life, and then kind of let it go and have some resolve after you let that song out. So that's one of the reasons why I connected with that, because it did take me a very long time to feel comfortable in my skin. And I think that is indicative to the human experience. And sometimes, because the human experience is here, we don't realize that we all experience the same thing sometimes, especially where feelings and emotional are concerns, emotions.
[00:26:01] Speaker A: As a listener in this piece as well, one thing that I observe with both of these different songs of melancholy that we're going to hear is just that sadness is not a static state. I think what is so beautiful and so, I think, impactful for listeners as well as performers is the kind of transference or movement from introspective to something that is much more kind of outward.
They're so moving because they take us.
[00:26:34] Speaker D: To these different places, of course, and we all think about them differently, but we can all feel that same fill and tension. Yes, exactly.
[00:26:44] Speaker A: Excellent. Let's listen.
[00:27:28] Speaker B: Shall don't be for the black and that's still shall be shall you let me live inside oh, let me live Let me live it tilt us tough to come tilt us tough to come to die love to come.
[00:30:34] Speaker A: Heatham. The next thing that we're going to hear is actually two songs back to back. The first is grief keep within by John Daniel. And you've chosen to pair this with an Arabic sOng, Liberut. And I wonder if you could talk to us about this pairing about Liberut and what it all means for you.
[00:30:55] Speaker C: Sure.
So griefkeep within.
We'll be performing the first section of that piece, and I've decided to link that with a song called Liberut to Beirut. It's an ode to my city, to where I was born and raised.
The melody you might find familiar, it's actually Rodrigo's Concerto Diaranchues, but the poetry was written in the height of the Lebanese Civil War in the 1980s, and it was set to that melody.
The words in that song describe a city once beautiful, full of potential, full of joy and peace, suddenly turned to ash. Well, it begs the question, how did it go from smelling like jasmine to smelling like smoke? My relationship to those two pieces specifically linked together in this way is the exploration of what grief feels like. Like you said earlier, it's not static. Right? Things move around.
I'm sure we all have gone through a lot of grieving in our lives, and I hope, some of us less than others, we always hope for that. But I found that a really, perhaps peaceful or beautiful way to reroute grief after I feel it and after I go through it is to lean into what the gratitude of that is. And according to Jibran, Khalil Jibran from his book the Prophet. My favorite chapter in that is called On Joy and Sorrow. And he says, your joy is your sorrow unmasked. And that really rang with me because I truly believe that we do not tend to grieve the things that we didn't care about, right? If we're able to reframe saying I am grieving because I have loved, right? So I had the beautiful opportunity to feel beauty and love, and this is why I am sad. So sadness or grief becomes an example of gratitude in a way. So for me, though, very sad, and I wish I was still living at home with all the opportunity that I want and that we all deserve.
But I think gratitude is the way for me to accept where I am today. So here are those two songs linked together.
[00:33:31] Speaker A: Thank you.
[00:34:06] Speaker B: And show you what tea can re this land again which was from My causeless grow close face and eyes Thou art and only let my heart only let my heart, my heart, my heart that knows the fine friends you swell I know Oliv Salam Liberty can Vin Ruhisha Biham Heaven Araki Hoya Sami Fakay Fas Wahada Olivir Minkalam Wakovalisakaratinka and was Antiri anti Oyani Kini Antiri Ray Wahajo Moj Antivirus Antiling.
[00:39:49] Speaker E: This is such an exciting time for Lady Lise and Solanira. This episode was our inaugural Solanira session, recorded before a live studio audience in Cleveland, and Lady Lease is in the midst of its 15th anniversary season.
Thanks so much for being a part of our global community of music lovers as a listener to Salon era. With your support, we can continue to collaborate with such engaging guests from across the country and around the world. You can support Salonira by subscribing to this podcast and by
[email protected] your donations make every episode possible.
Thanks again for supporting Leidelise and Salon era by listening and subscribing to this podcast. Now let's return to our conversation with Michael Walker.
[00:40:37] Speaker A: Welcome back. Michael, you spoke to us a few minutes ago about this formative song collection of spirituals, and the next song that we're going to hear from you is another spiritual, this one collected and arranged by Roland Hayes, who was incredible figure, such an important singer from the early 20th century African American who rose to fame largely in Europe. And I wonder if you could talk to us a little bit more about his importance and influence.
[00:41:16] Speaker D: Yeah, Roland Hayes is a part of a generation of singers who came about right after basically the turn of the century with Paul Robenson and Marion Anderson and those of the like, they were the first to break the classical musical barrier. Some of them experienced lots of success, like Mary Anderson in the States, albeit with the racist climate. But the majority of African American singers had much of their success in Europe. There's a very famous story about Roland Hayes going to Europe. Now, racism is not only An American invention, but it is something that is worldwide, sadly. And with that being said, at this time, Germany did not want Roland Hayes to come do these recitals. And I encourage you to listen to Roland Hayes. He's quite a wonderful tenor. And so Roland Hayes decided, well, you know, I'm still going to do it. So he went and the audience booed him and hissed when he got on the stage to perform. And he just kind of waited a little bit, and then he sang du Bistero, the Schubert, and it calmed the audience enough to where he was able to finish the recital and then got a standing ovation. That is the power of music, folks. I just love the story of Roland Hayes and his contemporaries because I liken them to Benjamin Breton and Peter Pierce. The reason why is because when they would go as a duel and do their recitals, they would always program some purcel, typically realized by Britain onto their program. And they shared kind of the British art song and kind of that heritage. Well, these singers did the same thing. Roland Hayes, Paul Robeson, Marion Anderson. They would always make sure to sing spirituals when they went and did their performances. And so it was a way to share that culture throughout the world. H. T. Burley was one of the major composers that they did go and kind of propagate his music, which was quite beautiful. Racism was still a problem in America, that H. T. Burley would publish his songs under a synonym, because that was the only way that they could get onto the radio and get to the top, and they were the top. So that's just very interesting. But Roland Hayes took into the tradition of arranging his own spirituals. So he would arrange his own spirituals and perform those. The one that I'll sing today is. He never said a mumbler's word. I chose it because I believe that it is one of our best examples of folk song, of songs that are brought by a tradition of people and about daily life. Right. Albeit that daily life was not the best at this time. There were a lot of lynchings and hangings going on in the South. And so with spirituals, they tend to be literal, but then they also tend to be allegorical. Right? And so with. He never said a mumbler's word. It is this moment that we talk about the crucifixion of Jesus, which is very much likened to the lynching and hanging of black Americans in America. And so this piece is in response to that. And he sets it as African bardwood, someone who would hold history and tell history through song, he sets it in that way, which I think is just so powerful.
[00:44:53] Speaker A: Absolutely. It's really very powerful to hear you sing this, as Roland Hayes did. Totally unaccompanied.
[00:45:27] Speaker B: Wasn't it a pity and the shame and it never said mumbling word all o it never said oh, not all, not all, not all word deep here in the side, in the side, in the side deepest him in the side, in the side in came out we call them da Mother in word dark blood came a twinkle down and mumble in word oh, wood Not a word, not a word he brought his heart I die I didn't know he bowed his heart I told.
[00:49:54] Speaker A: That piece is about protest in silence, and the next piece that we're going to hear is about speaking out, just a protest from the other direction. And that is, why do I use my paper, ink and pen by William Bird. William Bird being perhaps the most famous composer from Renaissance England, and this particular piece is from the early 1580s. Bird, as you may know, was wrote in every single genre. It was interesting, though, he converted to Catholicism in his adulthood, which is an interesting choice, considering that he was working for Queen Elizabeth I, who was a Protestant queen, and in an environment that was extremely intolerant to religious difference and practice. I know that you've spoken very beautifully about William Bird, in a way, occupying a real position of privilege in getting, somehow, to be a Catholic composer, working for a Protestant queen. But this has additional meaning and valence in the context of this piece. Why do I use my paper, ink and pen?
[00:51:21] Speaker D: Yeah, I adore this piece. Why do I use my paper, ink and pen? I got given this piece in graduate school and I just thought it was an amazing piece. And so when I was approached to do this project, thank you so much, I was like, we have to do this piece because it speaks to what we all can do. We all have a place of privilege in this world, albeit, however strong, whatever, all those kind of things, but we all have privilege, and it's using that privilege to speak to injustices. And that is what Bird did at this time during the Elizabethan Protestant England. It was very dangerous to be Catholic. And so one of Bird's priests, the Catholics, were driven underground and they had services in rebellion to the Protestant services. And if you were found out to be doing that, you could be martyred and or imprisoned. One of Bird's friends was martyred, and so he did not enjoy that. And so he set this piece to speak to that. And him being well liked by Elizabeth, Queen Elizabeth, excuse me, he was in a well positioned place to do so and to kind of speak to that injustice that happened. I like to draw a thread between what I do here in this early music world, between what's going on now. And it's like our modern day people, such as Billie Holiday, who sang Strange fruit, or Nina Simone, who sang Mississippi. Goddamn, these are moments even the Dixie chicks I'm not ready to make right. Like, these are moments that we use our platforms to speak to the injustices that are going on in this world. And so I just thought we have to do this piece to kind of talk about how music does serve as an avenue for social justice and calling what is wrong out.
[00:53:20] Speaker A: Absolutely. Let's listen.
[00:53:34] Speaker B: Why do my people think I know my needs to come watch me watch?
Lord, I speak of the glory of God.
It's song the glory of Glory to.
[00:55:51] Speaker A: We have one last piece for you this afternoon, and that is another piece in Arabic from the repertoire of Fayrus. And I wonder if you could introduce that for us and tell us a little bit how that resonates with you and maybe also the importance of farous in your life and that of others in the Arab world.
[00:56:18] Speaker C: Absolutely. So this song is called Nasam Alayna al Hawa, which directly translates to breezed on us, the wind, meaning we feel the wind on us. Right. So it's a beautiful invitation to go back home. So it's say Nasam Alayna al Hawa. Let's go, may the wind take us home. So this song is by a very, very well known singer called Feruz. Feruz actually is her artist artistic name, which means turquoise in Arabic.
Her name is Nohad Haddad, and she started her career in the early fifty s and became an iconic legend. She became a really big symbol of Arabic artistry and the voice of the Arab world outside of the Arab world. So she performs a lot in the US, and her songs kind of, they're very catchy and they're kind of everywhere. And so the Rahbani brothers, one of them is her husband and his brother, they composed mostly all of the songs that she sang. They did a lot of actually big Arabic musicals. So this song is from a musical called Bintil Haris, which means daughter of the Guardian. And my very strong connection to Feiruz. She's big in our family because my late uncle was, I mean, kind of number one fan of Feiruz. So Feiruz was always on when he was around. But every morning, every single morning, every Lebanese radio channel has Feruz. So I used to wake up to the smell of coffee and the sound of Feruz every single morning. And I can assure you that when I mean every single, I truly mean every single. And sometimes my mom would be like, can they just put something else on just for the day? And I'm like, mom, no, it's, don't you just kind of. Don't argue with Feiduz. Feidus is on. For me, this is a beautiful homage to my home, but also for me, very, very personally to my late uncle, who really held her very dearly and was a huge symbol for him. So here's Nassam Alayhi Nalhawa.
[00:58:37] Speaker A: Thank you for sharing it with us.
[00:58:51] Speaker B: Duck in the mail Hit me on the mail Hit me on Let me earth Even I could butter be hallelujah Fit me king I know I wish I should be all in the line without the shantivity bar that's the morning.
[01:02:52] Speaker E: This fascinating episode centers on Sorjana Ines de la Cruz, dubbed the Phoenix of Mexico. A brilliant writer, philosopher, composer, poet, and nun In 17th century Mexico, Sorjuana wrote for many patrons, but her epic poem Primero Sueno was written for herself alone as a true expression of her ambitious vision that explores the subconscious, the conscious, and her thirst for knowledge.
Guided and inspired by Sorjuana's poem, this episode brings together bassoonist Catalina Guevara, viques Klein, violinist Karin Cuela Rendon, and mezzo soprano Raquel Winneck Young with Ladalis musicians to celebrate her legacy, we're proud to re release this episode, which, with music by Castellanos, Duram de la Mota Flores and Sorjuana herself, included some of Solanira's most ambitious musical collaborations ever.
Thanks so much for listening to this episode of Solan era. This episode was created by Me, executive producer Deborah Nagy, associate producer Shelby Yaman, and Hannah Deprist, our scriptwriter and special Projects manager. It was recorded live on September 23, 2023 at the Heights Theater in Cleveland Heights, Ohio, by engineer Joel Negus and videographer Derek Snyder. Our guests were tenor Hatham Hadar and countertenor Michael Walker, who were featured in live performances alongside myself Viola de Gambo player Rebecca Landell, and lutonist and oud player Brian Kay. Support for Solanira comes from the National Endowment for the Arts, Cuyahoga Arts and Culture, the Ohio Arts Council, and audience members like you.
Special thanks to our episode sponsors, doctors Joseph Sapko and Betsy McIntyre, as well as Tova Klein, who sponsored this episode in memory of Bob and Nancy Klein. Solanier's seasoned sponsors are Deborah Malamud, Tom and Marilyn McLaughlin, Greg Noson and Brandon Roode, and Joseph Sapko and Betsy McIntyre. This episode featured musical performances of works by Claudio Monteverde, Fayrous, William Bird, John Daniel and John Dowland, as well as spirituals arranged by Roland Hayes and Harry Burley. A 1 hour filmed version of this episode is available on Salon, where you can also get full performance details and learn more about the music and information shared in this and any episode. Please subscribe and leave a review on Apple Podcasts. It really helps the show.
