[00:00:16] Speaker A: Welcome to this special episode of the Salon Era podcast. Salon Era is a series from Leydelis that brings together musicians from around the to share music, stories and scholarship. In this special episode, we'll hear excerpts from Ley Delisa's recent album release, The Highland Lassie, along with insights from artistic director Deborah Nake, soprano Elena Mullins Bailey and musicologist Ross Duffin.
The Highland Lassie is a scottish folk baroque crossover album recently released by Ley Delis. The CD was recorded on site at Cleveland's historic Dunham Tavern Barn in the summer of 2021. The recording celebrates the rich tradition of Scott's songs, including classics like Barbara Allen and Robert Burns's famous A Red Red.
[00:01:04] Speaker B: Rose, beautifully sung by soprano Elena Mullins.
[00:01:07] Speaker A: Bailey, who we will speak to later in this program.
The Highland Lassie celebrates the permeable borders between folk song and art song, between country dance and catillion, with a peerless ensemble of Baroque instrumentalists, including guitarist Daniel Sweenberg playing on an original 18th century English guitar violinists Julie Andradetsky and Alison Monroe, cellist Rebecca Reed, harpsichordus Mark Edwards and Deborah Nagy, artistic director, oboe and recorders.
Deborah brought signature creativity to planning this unique program.
Let's hear from her now about the origins of The Highland Lassie.
[00:01:53] Speaker B: Well, it's great to speak with Deborah Nagy, of course. Lada, Lisa's artistic director. And Deborah, we are talking today about the Highland lassie. And I thought a great place to start was just the origin of this program. Who are the composers? What was the inspiration behind this project?
[00:02:10] Speaker C: I so enjoyed kind of diving deep into a whole lot of 18th and also 17th century sources of Scottish music for this program. The origin came up during the pandemic when I was looking for some new repertoire and some ways to feel stimulated during a really rough and isolating time. And I was anticipating my birthday, which happens to be shared with Robert Burns, the great Scottish poet and collector of songs. And I had the opportunity to take a little online course in Scottish broke music and it was totally foreign to me and it was on the computer. And while I was having this experience, I was suddenly googling all sorts of things and finding tons and tons of digitized original sources online and feeling like I had just at least for me, unlocked a personal treasure trove of new music to be inspired by. It was a really important time also for music publishing and some people were extraordinarily prolific, including James Oswald, whose fingerprints are all over this music. He was a violinist and composer and music publisher originally in Scotland and then he actually midpoint in his career, went to London and opened a publishing house there and published tons and tons of fiddle tunes, dance tunes, songs, even some art music, I think that is all mixed in and mixed together.
And that's one of the things I love about this program as well, how there's this very fuzzy boundary at this moment in time between art music and let's call it traditional music. We also hear from fiddlers like William McGibbon, a contemporary of Oswald's and a real stalwart and part of a kind of a musical dynasty in Edinburgh in the 18th century. Interestingly enough, another composer that we hear from is Robert Burns. He was, I think, an amateur musician in addition to being a very serious poet, and traveled all around Scotland collecting lyrics, writing his own lyrics, collecting tunes, or determining what of these lyrics could be applied to existing tunes. And a huge amount of his work is brought together in a five volume collection from the 1780s called the Scots Musical Museum.
So it was just fabulous to be dealing with all of these different sources kind of roughly between 1700 or 1720 and around 1790, when some of this very, very early ethnomusicological work is coming to a great blossoming. So it was super fun, great music, and so many interesting rabbit holes to go down. In terms of primary sources, I love.
[00:05:27] Speaker B: To imagine you sort of digging through all of these compendiums that were first organized, as you said, like in the 18th century. I think as modern musicians, we owe so much to this impulse from our forebears for collecting and preserving this music and these tunes. So that was a great introduction, I think. Now let's get into the music and hear the title track, as it were, from this program, which is The Highland Lassie. Do you want to give it a little intro?
[00:06:03] Speaker D: Absolutely.
[00:06:04] Speaker C: We're actually going to hear think of this as our Highland Lassie set. It's three pieces that kind of all go back to back. The first is The Highland Lassie, which is a tune with variations on it by you know, sometimes these tunes come with no bass lines, and then you'll find a bass line in a different source with the same tune and maybe multiple bass lines for the same tune, depending on what the source is. So you'll hear an arrangement of The Highland Lassie, kind of based on John Oswald that I put together. This is followed by a tune called steer up and had her gone. Also, drawing on sources from John Oswald. And the last tune is called The Bottom of the Punch Bowl.
[00:12:19] Speaker B: All right, well, all the music, of course, that we're listening to today is from Lada, Lisa's newest album, The Highland Lassie. And Deborah, I know we're calling this a baroque folk crossover album. Can you tell our audience a little bit more about what that word crossover means?
[00:12:36] Speaker C: You'll hear quite a lot of dance music or instrumental stuff here that is truly meant for the dance hall.
Some of the tunes are from a collection called Caledonian Country Dances. So truly country dances published in the 1700 that come with the dance steps. So there are real functional aspects to some of this music.
But when you have these virtuosic kind of show off violin variations. It's a finer line between what is art music and what is kind of folk music, or music with more traditional origins.
And then there's a little bit of music on the album that is clearly an imitation of the classical style but using traditional source materials. And that is a good way, I think, to describe what we're going to hear next, which is essentially an Italian trio sonata, which is to say, for two violins and continuo three movements, the way you expect to kind of fast, slow, fast when you expect a sonata to proceed. And yet the source material, and actually for both the outer movements, the two fast movements, is a Scottish folk song, The Last Time I Came or The Moor, and it's been treated in such a way that it is highly decorated and there's filigree in the second violin part and it's been given a really Italianate bass line.
The origins of this are kind of a bit obscured.
And even Geminiani, who composed this setting and actually attaches it to a treatise on the art of good taste and music, he says that this is kind of an experiment and it's like neither Scottish nor Italian and lies in some nether regions in between, but that he hopes that we'll all find it compelling.
[00:14:52] Speaker B: It's like really good fusion food sometimes.
It's a connection you wouldn't necessarily have put together yourself, but you can enjoy.
[00:15:02] Speaker C: Yeah, it's super fun. It definitely feels like a mashup. And I said the outer movements are based on this tune, The Last Time I Came or The Moor and the little quote unquote adagio in the middle, it's kind of like a wretched for cello with violin accompaniment. So it's quite wild and wonderful.
[00:15:23] Speaker A: Let's give a listen now to this Francesco gimini sonata. The last time I came or the Moor The violinists you'll hear featured are Julie Andrewdeski and Allison Monroe.
[00:19:50] Speaker E: Is celebrating the release of two new CDs, our Scottish Baroque program, The Highland Lassie and Noelle Noel, a gorgeously recorded disc of holiday favorites. The new albums are available at Delice's, in person concerts or wherever you love to stream music, including Apple Music, Spotify, Amazon and Bandcamp. And be sure to tune into our upcoming podcast episode Spotlighting The Highland Lassie, which includes interviews with soprano Elena Mullins Bailey and ballad tune aficionado Ross Duffin that drops on November 27. You can visit Leedelis.org for details.
[00:20:32] Speaker A: Soprano Elena Mullins Bailey is praised for her alluring voice and easy virtuosity. She's a favorite collaborator of Lad Elise, and you can hear her artistry on both The Highland Lassie and its companion disc, Noel Noel. Elena performs with early music ensembles across the country and is also on faculty at Cleveland State University and Case Western Reserve University. She recently sat down with me to talk about her experience recording The Highland Lassie.
[00:20:59] Speaker B: All right, well, I'm speaking now with Elena Mullins, who is a favorite soprano of ley de Lis. She's worked with the ensemble for many years. And Elena, I was wondering if you could tell us. So this was recorded back in 2021 as, like, a video concert during the Pandemic, and the decision to turn it into a CD kind of came later. But do you remember what it was like to record back in 2021?
[00:21:28] Speaker F: Well, yeah.
[00:21:29] Speaker G: I mean, first of all, it was just such a privilege to get to do it because, of course, everything had shut down. And live concerts. We all missed the live concerts. But I felt so lucky that as a Cleveland soprano, I was, you know, privileged to be able to get to do some projects with Ladelice. And this one was so special. I think the setting was really special.
The Dunham Tavern, this kind of like, rustic barn in the middle of Cleveland.
And she'd brought this lighting designer in that was creating this really beautiful atmosphere.
And then you had the instrumentation, which was wonderful, especially with the English guitar. Maybe the most special set for me was the Red Red Rose and Love Is the Cause of My Morning, which kind of work as a little pairing. And it's just this heartbreakingly beautiful music, love music, and the way that Deborah played both love Is the Cause of My Morning and then also the oboe bits in Red Red Rose. I had a hard time holding it together every time we recorded it.
[00:22:57] Speaker B: Deborah always does such a great job, not just programming, but also and listeners might not know this, but she creates arrangements frequently. So a lot of times when you go to a Lady Lis show, you're hearing not just fantastic music, but fantastic music that has been arranged for the instruments you're seeing by Deborah.
And the same was true in The Highland Lassie, where she's taking these tunes and then working them with all these different instruments, and then you coming in and singing. I mean, it's such a creative and satisfying enterprise.
Okay, so on this disc, you're singing in English, but it's also kind of Scottish. Can you tell us about what exactly it was like to approach these songs and how you got a feel for the language?
[00:23:50] Speaker G: Yeah, I've learned in the last several years that my favorite way to approach diction for languages that I'm not familiar with is really just to try to find someone who does it naturally.
They grew up with it rather than just trying to go to a book and figure out what all the vowels and the consonants are. So I have some friends who do Scottish folk music and some of this crossover between folk and classical. And they were able to put me in touch with a singer, Steve Byrne, who is he's, like, won competitions for Scottish folk singing. And so I was able to get him on Zoom and to do a few coachings with him. And he was just really lovely to work with. But one of the interesting things about it is that, of course, there's all these different dialects and depending on the spellings, he would give me all these options and I could sort of lean things more English or more Scottish.
So there were some words that it was a bit confusing. Like depending on the song, I would pronounce them one way versus another way. And then you're also deciding there's a song that I don't know if it's on the album Alassie All Alone, which may have been an addition for some later iterations of this, but the chorus is alassie all Alone was making her moan lamenting our lads beyond the sea. And when I coached it with Steve, he said, well, based on the spelling here, you could pronounce it alassie all elaine was mackenhar.
So it was fun that there were some options there, depending on what you were. If you want to go for a different flavor.
[00:26:02] Speaker B: I totally agree. There's nothing like just hearing a native speaker speak through things slowly and carefully with you. Because I think as musicians and singers, we are really attuned to the details. The books are only valuable once you have the languages really in your head.
[00:26:22] Speaker G: It's very similar to the way that music is not music notation.
It's just much more organic than that.
[00:26:29] Speaker B: Yeah. Especially when the base language is English. And that's our language. Like the level of sophistication and detail you can bring to it. It's our language, so we should feel really in control of it and we should be able to find all these subtleties and really be experimental and creative props to you. It sounds so great in your voice, and the language sounds so natural. So what you did definitely worked, in my opinion.
[00:27:03] Speaker G: Thank you.
[00:27:04] Speaker B: So we're about to hear Broom of the Cowdens. You can correct my scotch. English pronunciation.
Can you tell us a little bit about this song?
[00:27:16] Speaker G: Sure.
Well, it was a really special arrangement that Deborah made where she was taking advantage of the fact that there are versions of this in so many different sources. And so she created this kind of mashup that does a great job of painting a picture of all these different images from all the different verses.
And I don't know.
Is it Jim and Yanni?
I'm not sure. But there's this one moment where it's kind of typical Highland lassie who's lamenting the fact that she is no longer able to be at home.
It's unclear why she's not at home anymore, but she was banished because she loved this guy.
[00:28:07] Speaker C: I don't know.
[00:28:08] Speaker G: Anyway, it's confusing. But she's away from home now and she wishes she could be back at home milking her daddy's Yao's, which is use. But she's reminiscing about the times that she spent with this man that she loved who was a shepherd and he would help her watch over her flocks. And in one of the verses she says something about I envied not the fairest dame Donaire so rich and gay and so you get this picture of like a town lady with money and finery and that's the moment when this very frilly violin thing comes in from some art arrangement of the song. So it was so creative.
[00:28:58] Speaker B: That's such a great way of noting that there's subtlety and there's detail in the language and that is echoed in the musical sort of the instruments around you too. And what a great marriage that is. So let's now listen to and can you say it, Elena?
[00:29:18] Speaker G: Yeah. So this is my favorite part of Scottish pronunciation, is the U vowel. So you could say the broom of the cow de naus.
[00:29:28] Speaker H: Perfect.
[00:29:29] Speaker F: Let's listen with a wish I can be my daddy us hope life was.
[00:29:56] Speaker H: I.
[00:30:10] Speaker F: Met him we could be the night only shading I need. What Yamah?
Why he walked he gave my sheep and he all the gaze. Come to him like we shine watching in my night in your wild west in it heart face that I should found is to be kind but it was the morning.
My sight is he obliged me every hour if I be.
You might need one.
My dad can bring my care.
[00:35:55] Speaker B: Musicologist.
[00:35:56] Speaker A: Ross Duffin is a longtime friend of the show and mentor to many of Ladalisa's artists. He even helped us come up with the name Salon era. So it's fair to say we owe him a lot. Ross is respected as a scholar in a wide range of musical repertoires. He has authored books and published articles on music from the 13th to the 19th century. A gifted lecturer, he led the historical performance program at Case Western Reserve University for over 35 years. And he shared insights at academic institutions across the world. He also hosted Micro Locusts, a popular NPR show about early music that ran from 1980 to 1998, when we produced The Highland Lassie as a video concert. During the height of the COVID-19 pandemic, ross recorded a fantastic interview that acted as a sort of pre concert lecture. So before we listen to Elena sing Barbara Allen, let's hear from Ross about the history of this famous song.
[00:36:54] Speaker B: Hi, Ross.
[00:36:55] Speaker F: Welcome.
[00:36:56] Speaker D: How are you?
[00:36:57] Speaker H: Good. It's good to see you, Deborah.
[00:37:00] Speaker D: Excellent.
I was working on this program and actually mentioned to you this summer that Barbara Allen was involved and you said, I just wrote an article about Barbara Allen and I thought, oh, that's timely, and it's also really fascinating. So I'm so excited that you shared it with me at the time and that it's recently come out and I hope we can talk a bit more about it. I know many people know Barbara Allen and it's been called Far and away the most widely collected traditional song in the English language.
When you said, oh, what version of the tune did you use? And I said, Well, I looked for one that was contemporary to the rest of the program and you said, good choice.
That's right.
And so I wondered if you could talk to us a little bit about your research into Barbara Allen and its earliest versions as we might be able to trace them.
[00:38:01] Speaker H: Right, well, it came about as I was working on another project, an edition of a 1631 collection of Psalms, where the writer translator gave the tune Barbara as one of his choices. Most of them were recognizable ballad tunes and one was Barbara. And I thought, Barbara, what would that be? And there wasn't anything obvious, but I thought, could it be Barbara Allen? And if so, what are the earliest traces of Barbara Allen? So then I went on a hunt for Barbara Allen and I found that the earliest surviving reference to it is a performance at a soiree that Samuel Peeps attended in 1666 and he heard the song sung.
And then later in the 17th century, in the last quarter of the 17th century, there is a broadside that has a Barbara Allen lyric and it's in fact the Barbara Allen lyric that most people know. Scarlett Town, where I was born, there was a fair may dwelling and so on.
[00:39:00] Speaker D: But for those who are not totally familiar with what a broadside is or looks like, can you give us a rundown on that?
[00:39:09] Speaker H: Sure. They were called broadsides because they were just printed on one side of the page, so they could be quite large in format.
And there was often a woodcut that is an image, but very often the woodcut had very little or nothing to do with the content of the ballad. They were just trying to draw attention to the ballad. Then they would print all of the lyrics to the ballad and typically they would just give to the tune of and so with Barbara Allen, it oddly the earliest ones oddly say, to the tune of Barbara Allen. And that seems OD to have that self referential tune title. So I wondered if there might have been something earlier that it was based on. And that led me to a Barbara Allen lyric that was published in 1737 and it was slightly different from the Scarlett Town version. It has a first line about Martin Miss, which is the occasion in October, the time of St. Martin's Day, and went on from there. And what struck me about it is that there was a song in Shakespeare's songbook that began in a very similar way about Martinus called Sick sick and tutu sick. That's the refrain. And Shakespeare cites it as the sick tune and has another quotation of it somewhere else and various other dramatists. Quote the song well, that turns out to date back to the late 16th century and a ballad that was registered in 1579 and survives in a late 16th century manuscript.
And so there was that ballad and it seemed similar to the Martin Miss Barbara Allen ballad. And then I noticed that the fourth stanza of the Martin Miss Barbara Allen ballot had this six sick refrain at the beginning of it. So it seemed very clear that the Barbara Allen Martin Miss ballad was related to this six six and two two six ballad from much, much earlier, from the late 16th century. Then the next step was to find that there were actually three tunes from that late 16th century period that had titles similar to that sick, Sick and Very Sick, or Sick, Sick, two two Sick, or just Sick, Sick. And so it was impossible to say what tune might have been used, or maybe they all were at various times. But one of the three tunes was very similar to the tune that got printed later in 1740 by James Oswald when he was just collecting Scott's tunes for flute. And so that was very interesting to me that the two corresponded. And in fact, I wound up just putting them in parallel and transposing them so you could see how similar they were, the points of rising and falling and points of arrival, and some of them were really similar. So that seemed clear to me. And then the first musical setting of Barbaran was of that Martin Miss version, and it's 1790. And that, I think, is the version that you used. So that's why I was pleased, because it's not as well known as the, quote, traditional Barbara Allen ballad, but I think it probably was much closer to the earliest version. It survived.
[00:42:33] Speaker D: Absolutely. I think that's so interesting. And in the interest of full disclosure, in terms of what we ended up doing, you mentioned the 1740 James Oswald source, which is totally instrumental, and it's really, what, 16 bars of music in grand total? It's just the tune. And then it is printed in 1790 in the Scots Musical Museum with the Martinus text. Our arrangement is sort of a conflation of the two sources with some added lines and things like that. You mentioned that all of this started with a 1630s reference to a tune called Barbara, right? And did 1630s Barbara relate in any way to 1740s Barbara Allen I spend.
[00:43:22] Speaker H: A lot of time thinking about firstification and tunes and what lyrics will fit what tunes and what tunes might be used to set what lyrics. And certainly the tune Sick, Sick or Barbara, as it probably came to be called Barbara Allen, does fit the psalm text that this writer was calling or to be set to the tune. So I think there's a good chance that it was circulating at least by around 1630. So that's another 30, 35 years earlier than the Samuel Peeps reference. I think it probably grew out of the ballad from the 1570s. But when exactly, I don't know. And there's a lot of flexibility of tunes and texts. I think that a lot of texts that survive without tune would simply have been sung to tunes that worked. And people who did a lot of ballad singing would know, well, this is in poulter's measure, I know this tune is in poulter's measure, I can use it. Or this is in ballad meter, I can use this tune. And so there was a lot of flexibility in the way that worked. And even we know that some tunes were used to set. The one famous one is Queen Dido the Ballad of Queen Dido and the tune gets known as Queen Dido and then there's a new ballad on that tune that's when Troytown for Ten Years War. So then the tune gets called When Troytown and it later gets called Bonnie Nell because there's a famous ballad about Bonnie Nell. So tune titles changed over time, and it wouldn't have surprised me then to find that the six sick tune had been changed to Barbara because Barbara was emerging as a newly popular ballad.
[00:44:59] Speaker A: Let's listen now to Barbara Allen, recorded for the Highland Lassie, featuring Elena Mullins, bailey soprano Deborah Nagy. On recorder, cellist, Rebecca Reed and harpsichordist Mark Edwards.
[00:45:14] Speaker F: It was in Martin when the green leaves were in the West Country. Fell in love with Barbara Island.
He sent his Monday to the place where she was dwelling. Oh, hate and condom. I make her dear skin the place where he was lying young man I think you're dying that you the head and when I he turned his face on what we might hear and be kind to heartbreak left him she could death on life I don't left him she had.
[00:49:19] Speaker E: Tune in on Monday, December 11 as we premiere songs for social justice. Our solanira episode recorded live in Cleveland.
Special guests. Countertenor Michael Walker and Tenor Hatham hadar share loot songs by John Dowand and John Daniel. African American spirituals and traditional Lebanese melodies that become vehicles for storytelling to probe themes of identity and representation, struggle and resilience, and community and belonging.
Leydelis is celebrating the release of not one, but two new CDs this fall. In addition to The Highland Lassie, lad Elise is marking the release of Noel Noel, a gorgeously recorded disc of holiday favorites with three live performances December 20 through 22nd in Akron, Rocky River and Cleveland Heights, Ohio.
Hailed as the best holiday concert of.
[00:50:25] Speaker C: The year by audience members, Noelle Noelle.
[00:50:27] Speaker E: Celebrates the major themes of the holiday.
[00:50:29] Speaker C: Season peace, love, joy and hope.
[00:50:33] Speaker E: Acclaimed local soprano Amanda Powell will join.
[00:50:36] Speaker C: Ladies for these upcoming December performances, where.
[00:50:40] Speaker E: Audiences will be delighted by inventive new arrangements of classic holiday fair like S Is, Stein, Rose and sprongen and Indulci Ubilo, as well as nostalgic Old English.
[00:50:52] Speaker C: Songs like Coventry Carol, What Child Is this? And make we joy.
[00:50:57] Speaker E: Featured alongside the traditional Carols are lesser.
[00:51:00] Speaker C: Known but richly poignant baroque works, including the Candonesa spirituale sopra Alanamna, a Hypnotic.
[00:51:07] Speaker E: Love Abide by Tarquino Merula.
[00:51:17] Speaker C: You can learn more about our live performances on December 20, 21st and 22nd.
[00:51:22] Speaker E: In Northeast Ohio on Ladalisa's website. And again, our new albums The Highland Lassie and Noel Noel are available at Ladalis's in person concerts or wherever you love to stream music, including Apple Music, Spotify, Amazon and Bandcamp.
[00:51:39] Speaker C: You can also order physical discs in.
[00:51:41] Speaker E: The retail section of our website. Visit Lidolice.org for details. And thank you for listening.
[00:52:03] Speaker A: This is such an exciting time for Les de Lise and Solan Era. We are kicking off our fourth season of free, accessible, early music focused episodes of Salon Era, while Leis is celebrating its 15th anniversary season. Thanks so much for being part of our global community of music lovers. With your support, we can continue to collaborate with such engaging artists from across the country and around the world. You can support Solanera by subscribing to this podcast and by
[email protected] your donations. Make every episode possible.
Thanks again for supporting Leidelise and Solanera by listening and subscribing to the podcast. Now let's return to our interview with Deborah Nagy.
[00:52:47] Speaker B: So we're going to hear in a minute this really, really famous tune, La Chabber. And can you tell us what exactly is this tune? Why do you think it was so famous? How far did it travel?
[00:53:00] Speaker C: This tune has shown up in so many sources, not just from Scotland and not just from London, but also publications as well as manuscript copies in North America. So this was clearly a famous tune that crossed the Atlantic and was recorded in various kind of personal copies and personal music libraries and heard across Appalachia and into the south and in the colonies and really early America. It turns out, actually, that Lohaber is included in the personal library manuscripts of Thomas Jefferson in Monticello. Even so, this is a tune with a lot of miles on it and a lot of resonance.
We are going to hear julian drageski perform variations on la chauber by the scottish violinist william McGiven.
[00:57:24] Speaker B: Deborah, it seems like this project is really just the start of a broader ambition for Lad Elise to do more explorations of ballad tunes and Scottish folk music. So what's next? Where do you go from here?
[00:57:42] Speaker C: Well, I have been exploring more sources of Scottish chamber music from the 18th century. I'd love to dig deeper into the really expansive catalog of Oswald, but in particular, I've actually been planning to create a new program for Ladalisa's concert series next spring from the idea of ballad tunes and broadside ballads and takes it into late 18th century songs of the Sea and the songs around the Mermaid. So I've been kind of diving into English folk songs which have lots of different sources, some of them from the 19th century, 18th century, obviously, as we heard from Ross, with sources sometimes in the 17th century.
So thinking about sea song's myth the Mermaid and that is something that is on my radar at the moment, but also the. Highland Lassie program has developed further with subsequent performances since we made this disc. And so it's been fun over time to start to bring new songs and new dance music into this project and quite honestly, also with Alison Monroe and myself, to having more opportunities to sing.
[00:59:15] Speaker A: Well, that sounds fantastic. Deborah, thanks so much for speaking to us. Know, as always with you, there's something coming. There's always something more to be excited about for anyone who's listening. If you've enjoyed hearing excerpts from The Highland Lassie, you can check out the full album. It's streaming everywhere. Physical copies you can purchase directly from us on our website, leidelise.org.
You can also check out our Christmas album, Noel Noel, which is fantastic. Also featuring Elena Mullins Bailey. So Deborah, before we wrap things up, can you introduce us to this last bit of The Highland Lassie that we'll hear today?
[00:59:54] Speaker D: Absolutely.
[00:59:55] Speaker C: We're going to have actually like a trio of short dance pieces from that 1700 collection that I mentioned, Caledonian Country Dances. They are Buttered Peas Blouse Abella, which we treat as a sort of call and response piece. And that set finishes with a tune called Stewart's Rant.
[01:03:03] Speaker E: Have you listened to Leydelis's other podcast, music Meditations? Music Meditations combines poetry and music to bring soul, soothing and life affirming art into your day. Featuring classic and contemporary poetry by Northeast Ohio writers, along with curated performances from Les de Lisa's Live Performance archives, each bite sized episode concludes with prompts for mindfulness or guided listening to listen search Music Meditations wherever you found this podcast.
[01:03:48] Speaker A: Thanks so much for listening to this special episode of Solanera. Support for Solan era is provided by the National Endowment for the Arts Cuyahoga Arts and Culture, the Ohio Arts Council Early Music America and audience members like You Special thanks to our original program sponsor for the Highland lassie, Tom and Marilyn McLaughlin, and to Solania seasoned sponsors, deborah Malamud, Tom and Marilyn McLaughlin, greg Nozen and Brandon Roode and Joseph Sopko and Betsy McIntyre. This episode was created by executive producer Deborah Nagy, associate producer Shelby Yaman and me, Hannah Dupreest, script writer, episode host and ladylise special projects manager. This episode featured selections from Ley Delisa's newest album, The Highland Lassie, recorded live for video in July 2021. You heard soprano Elena Mullins Bailey with Ley Delis. Musicians deborah Nagy, oboe and recorder Julie Andrajetsky and Alison Monroe, violins. Rebecca Landell, cello. Mark Edwards, harpsichord and Daniel Swinberg Loot, baroque guitar and English guitar. To support this podcast, visit solaneera.org. Hit the subscribe button to be notified when our next episode, Songs for Social Justice, is released on December 11.
