NEWS


March 2024



ARTS FOUNDATION FUTURE AWARDS


We were so honoured to perform at the Arts Foundation Awards Ceremony in London last week. The Arts Foundation awards five £10,000 prizes each year to promising artists across a range of fields. It was a privilege to share the stage with the incredible winners and nominees for 2024, and to celebrate the incredible music of John Barber.


John won the prize for choral composition in 2021, and with it wrote 2 E.Ps worth of music and recorded those with Echo. We performed his piece “F*ck Dsytopian Loneliness” alongside a brand new film created for the occasion by filmmaker Fred MacGregor featuring dancer Jamal Sterrett.


It was a truly inspiring evening, celebrating artists in the realms of jazz composition, short documentary film making, theatre writing, visual art and regenerative design. Find out more about the winners here.


Jan 2024



WIGMORE HALL DEBUT


We have some exciting news about our debut recording - we’re launching the album with a special concert this July at the iconic Wigmore Hall in London. We’ll be singing music from the album, including the wonderful and virtuosic Trois Chansons by Ravel, alongside music by Mouton, Monk and Palestrina.

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Tickets are now on sale - we’d love to see our London supporters there!


Wednesday 3 July, 1pm

Wigmore Hall, London



Aug 2023



CHORAL CHIHUAHUA


We had a feature in August in the latest Choral Chihuahua podcast, run by I Fagiolini’s Robert Hollingworth and The Sixteen’s Eamonn Dougan. In it, our conductor Sarah was interviewed about Echo’s journey, our improvisation specialism and our work with Hans Rosenström. 

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Unfolding Silence is our collaborative piece with Hans and will be exhibited at Frieze Sculpture in Regents Park this month and next. Do check it out if you get a chance - we’d love to hear what you think of it! @echo_vocal (X)


Frieze Sculpture Fair

Regents Park, London, 20 Sep - 29 Oct


June 2023



REGENT’S PARK SOUND INSTALLATION


This summer Echo will working with Finnish artist Hans Rosenström to put together a devised piece based mainly in improvisation, that will be used as one of the exhibits at Frieze Sculpture Exhibition in Regent’s Park, London this autumn. Unfolding Silence is a sound installation planned for a small grove within the Park. The work aims to offer an intimate place for listening, and will be part of Frieze in October 2023.ο»Ώ

More about Frieze 2023

Robert Indiana, Imperial LOVE, Frieze 2022


April 2023



VIDEO RELEASE

We're thrilled to share the #Messiah250 film celebrating our inspiring project from last year...


We ran a three month project in Bath alongside Paragon Singers for a project based on Handel’s Messiah. It celebrated the history of Bath’s association with the work, and reimagined an early performance of the piece in the city, originally organised by the astronomer William Herschel in 1771.Through January and February, we ran a series of singing workshops throughout Bath, including a Come and Sing day, a free taster day for beginner cities and, in partnership with charity Julian House, weekly singing sessions for homeless and vulnerable people living in Bath.Those participants were then invited to join Echo and

Paragon Singers to sing the chorus for the performance.


We loved the whole project and are grateful we can share a glimpse of it with you here!

 

Huge thanks to the whole team:

Conductor Sarah Latto

Director Thomas Guthrie

Our wonderful instrumentalists led by Bojan Cicic

Film students from Bath Spa University

and of course generous funders Andrew and Gill Clarke and Arts Council England


Echo Vocal Ensemble: Sam Cobb, Hilary Cronin, Mae Heydorn, Sophie Timms, James Micklethwaite, Will Wright, Tom Herring


Orchestra led by Bojan ČičiΔ‡: Davina Clarke, Flora Curzon, Mark Seow, Jane Rogers, Jordan Bowron, Henrik Persson, Callum Anderson, Emily Newman, Rosie Moon



Oct 2022



FUTURE VOICES

a brand new collaboration between Echo and young artists


We're excited to announce a new partnership with the Royal College of Music Junior Department.


We're teaming up with the RCM this autumn in a brand new collaboration working with the young composers in their Junior Department, aged 12-18. The students will be set a challenge to write a short piece for SATB choir, for Echo to perform in a public concert at the end of November.


Our singers will work with the students, giving them crucial feedback on their compositions in progress, and enabling them to experiment with new ideas in person ahead of the final concert. The project is a chance for vital links to be made between aspiring young people with those in the industry, and a way to celebrate the art form of ensemble singing.


Our longtime collaborator, poet Roger McGough has also joined us for the project; he ran a poetry writing workshop for the students to kick off the term, allowing them to experiment with creating their own texts for their pieces.


Join us for the final performance on Saturday 26th November - at the Royal College of Music.
Tickets cost £5: more details here.


#newmusic #composer #musicforvoices #youngtalent #nextgeneration


April 2022

REVIEW - MESSIAH 250



Collaborative project alongside Paragon Singers, Julian House and Thomas Guthrie receives glowing write-up

It has been great to read this lovely review of director Thomas Guthrie's work, which includes words on our recent Messiah 250 project with him!  Thank you to Dorota KoziΕ„ska for this gorgeous and thoughtful write up.


"joy, uncertainty, awe, despair and ecstasy were marked with a different shade on the face and in the gestures of each musician, including the instrumentalists"


"The understanding between Latto, who holds the whole thing together, and the director to make every gesture of the conductor both musically legible and significant in the story, to make it at one time resemble maternal tenderness, at another a grimace of derision, at yet another pure ecstasy"


Full review here



Dec 2021


LITTLE GIRL BLUE


Collaborative performance between Echo Vocal Ensemble and Christopher Glynn is launched

This Christmas, we’re releasing in full Sarah’s arrangement of the traditional carol ‘O Come O Come Emmanuel’ combined with Nina Simone’s beautiful song ‘Little Girl Blue’. Sam sings the soprano solo beautifully in this performance and we were thrilled to collaborate with the wonderful Christopher Glynn on piano.

This was part of last year’s ’12 Days’ package of music in collaboration with The Gesualdo Six, The Swan Consort and Ryedale Festival - if you are still looking for Chrhistmas presents and want to buy someone the gift of music, we highly recommend this year’s offering. It's filmed in the intimate beauty of Birdsall House in North Yorkshire and features some absolutely stunning music!


MORE DETAILS HERE


Oct 2021


Joy and Devotion

 

We're delighted to be involved in the launch of a ‘Joy & Devotion’, a new annual festival of Polish sacred music, presented by

The Adam Mickiewicz Institute.


On Thursday 4th November, Echo will be giving a concert at Downing Place URC in Cambridge as part of the Cambridge Early Music Festival of the Voice. Titled ‘The Polish Court’, this programme explores the work of composers living in Warsaw and Krakow in the 16th and 17th centuries, featuring Gorczycki’s Missa Paschalis as its centrepiece, alongside motets by Luca Marenzio, Asprillo Pacelli and Vincenzo Bertholusi.


Echo will then perform as the closing act of the London Festival, which takes place at St Martin-in-the-Fields from 2 to 5 November under the artistic direction of composer and conductor PaweΕ‚ Łukaszewski, and features performances by The Gesualdo Six and Tenebrae.


Our performance on Friday 5th November will contrast 16th century motets by MikoΕ‚aj ZieleΕ„ski and WacΕ‚aw of SzamotuΕ‚y set against works by three vibrant modern composers: British-Polish composer Roxanna Panufnik and emerging Polish composers Aleksandra Chmielewska and Anna RocΕ‚awska-MusiaΕ‚czyk.

 

PaweΕ‚ Łukaszewski, Artistic Director, said:

“It has been an honour and a delight to work on the inaugural 'Joy and Devotion' festival. The programme this year is a stirring introduction to the abundance and emotion of Polish sacred music. I am as excited to bring the works of well-known and much-loved composers such as Penderecki, Górecki and Roxanna Panufnik to audiences as I am presenting more obscure works not yet widely known in the UK from centuries-old Polish masters and the world premieres of two composers just starting their careers.”


Tickets - Cambridge tickets - London

Sep 2021


BBC Broadcast - listen again


Below you can listen to our performances of Britten and Palestrina, broadcast list on BBC Radio 3, alongside interviews between presenter Sean Rafferty and members of Echo.


August 2021


Summer Tour - Already Gone




We had a summer of firsts this year; it was amazing to tour new and old music to new audiences across some of the UK's biggest cities, and to premiere the winners of our competition composition: Rory Wainwright Johnston, Lillie Harris and shortlisted composers Janet Oates and James Brady. We also took part in a live BBC broadcast, created a behind-the-scenes video to bring audiences closer to the process and held an open workshop featuring the new compositions.


We were thrilled with this
four star review of the final date of our summer tour, which described our performance as "sparkling, poised and subtly powerful". We were also delighted to have had such lovely audience reactions to the tour:


"My first concert for 18 months - so glad it was this one"
"I was privileged to be in the audience last night at Kings Place at your excellent concert"
"An unbelievable level of conceptual integrity and intonation"

We've left some photos above of our performances at Kings Place, MAC, Stoller Hall and at Broadcasting House.


With huge thanks again to Genesis Foundation, The Golsoncott Foundation, RWV Trust and The London Community Foundation: Cockayne - Grants for the Arts.


May 2021


Tour Announced



We are so happy to announce our summer tour!


Already Gone combines music by Palestrina and Clemens non papa with Britten's Five Flower Songs and world premieres from our inaugural Competition Composition.


We're thrilled to be making our Kings Place debut to kick things off, before heading to Manchester and Birmingham.


 
Click here for all details. 





The Already Gone Tour is a Genesis Kickstart Project, supported by the Genesis Foundation. It is also made possible thanks to the Golsoncott Foundation and the RVW Trust.



March 2021


Press ahead of premiere


We received a very nice write up in the Henley Standard for our 'Listening to Lassus' project this month. Click the image to read the article in full.


Feb 2021


LISTENING TO LASSUS


Our 'Listening to Lassus' premiere at Chiltern Arts Festival was due to take place at the end of February, but had to be rescheduled due to the national lockdown.


We're very happy to confirm a new date of May 25th - original tickets are still valid for the rescheduled festival, and you can book via www.chilternarts.com/whats-on.


We're thrilled to be appearing on the same line up as the likes of Clare Hammond and Mahan Esfahani, and particularly with this project, which is an important one for us. It's the group's first piece of music theatre, working in a completely new way alongside the wonderful Aminita Francis and Miriam Sherwood. We can't wait to get back in the (socially distanced) rehearsal room!




Jan 2021


THE TRUTH FROM ABOVE


Collaborative performance is Gramophone Magazine's video of the day

We're delighted that our collaborative performance with The Swan Consort and The Gesualdo Six from the 12 Days project is Gramophone Magazine's video of the day today.


.Here’s to a 2021 with more art that allows organisations and communities to work together. We are greater than the sum of our parts.



Dec 2020



 12 DAYS OF CHRISTMAS


We've just launched our festive endeavour, 12 DAYS OF CHRISTMAS. 

Click here to find out more.


Nov 2020


BLOG POST


'Talking about racism and Black Lives Matter'

written by Sam Cobb, Co-Artistic Director




       In the third instalment of our 'Kitchen Sessions’ video series, we discuss racism and the Black Lives Matter movement in regards to our work as a professional music ensemble in the UK. We are a majority white British group, and the majority of the music we have performed so far has been written by white, European men, which has historically been the performance norm within the UK's choral tradition.


       This is the position from which we are approaching these issues: one of privilege, operating in an industry that is desperately lacking in diversity. While research that examines inequality specifically in our field is basically non-existent, the most recent data demonstrates that ethnic minority people represent 6.7% of the workforce in music, performing and visual arts, while making up 14.1% of the overall population for England and Wales (1). I don’t think it’s unreasonable to assume that in Britain’s choral music sector, that proportional figure is much, much lower.


‘A failure to acknowledge racism results in

a failure to act upon it and to instigate change’ (2)


       It is not the purpose or the nature of our filmed discussion or this blog post to make public declarations of outrage, or to set out a perfectly-composed plan of action to tackle this inequality. Here, we want to share with our audience this first and crucial step for us: acknowledging our position and remaining mindful of this as we embrace the challenges brought about by the anti-racist movement in 2020.


       Reni Eddo-Lodge’s brilliant podcast ‘About Race’ pointed out to me that there is a tendency to focus on the guilt, shame, or hurt feelings of white individuals that may be brought about by conversations about racism and white privilege. I have felt those emotions in my own self-examination and exploration of these issues. More importantly, I have found it helpful to acknowledge those reactions, and then move on: not allowing that initial discomfort to block my way to making active and positive change. I believe that to avoid or exempt myself from talking about racism because I am white, would be a privileged act that is only accessible to me because of my race. 


‘The uncontested status of classical music plays a key role in the ways in which

inequalities manifest themselves in its production and consumption’ (3)


       As Alex Ross stated in an article for The New Yorker earlier this year: failure to challenge issues of race in Classical music is ‘not only a moral wrong but also a self-inflicted wound’(4). Alongside carefully examining and acknowledging our situation, this is our opportunity to learn the ways in which we, as an ensemble, can think more carefully about how we approach music by artists of all racial identities. As a group hoping to push the boundaries of ensemble singing, performing music from a wide and eclectic range of perspectives is at the heart of our ambitions. We must continue to be sensitive to the music and to it’s context, and remain open to criticism if or when we get things wrong.


       It can feel difficult and uncomfortable to talk about race. Indeed, 2020 has brought about a great deal of distress, felt globally as a result of the Covid-19, for example. But perhaps by coming to terms with our discomfort, rather than fighting or avoiding it, we can focus our energies on the positive choices we can control, and move forward all the better for it.




CLICK HERE TO WATCH OUR KITCHEN SESSIONS #3



As an organisation we will continue to educate ourselves about issues of intersectional inequality in our industry, and to seek out the appropriate corrective action that is our duty to take. While we do not expect others to do any of the work for us, we greatly appreciate any feedback our audience might have regarding our video or this blog entry. Should you wish to share anything with us, please contact us directly via the ‘Contact’ page.




Footnotes:


(1) S. Malik and W. Shankley, ‘Arts, media and ethnic inequalities’, Ethnicity, Race and Inequality in the UK, Bristol, Policy Press, 2020, p.167


(2) K. Bhopal, White Privilege: The Myth of a Post-Racial Society, Bristol, Policy Press, 2018, p.159


(3) A. Bull, and C. Scharff, ‘‘“McDonalds” Music’ Versus “Serious Music”: How Production and Consumption Practices Help to Reproduce Class Inequality in the Classical Music Profession’, Cultural Sociology, 2017, 11:3, p.298


(4) A. Ross, 'Black Scholars Confront White Supremacy in Classical Music’, The New Yorker, September 21, 2020 Issue.




Bibliography and further reading:


Bhopal, Kawal. White Privilege: The Myth of a Post-Racial Society, Bristol, Policy Press, 2018.


Bull, Anna. Class, Control and Classical Music, USA, Oxford University Press, 2019


Bull, Anna and Scharff, Christina. ‘‘“McDonalds” Music’ Versus “Serious Music”: How Production and Consumption Practices Help to Reproduce Class Inequality in the Classical Music Profession’, Cultural Sociology, 2017, 11:3, 283-301


Eddo-Lodge, Reni. Why I’m No Longer Talking to White People About Race, London, Bloomsbury, 2018


Malik, Sarita and Shankley, William. ‘Arts, media and ethnic inequalities’, Ethnicity, Race and Inequality in the UK, Bristol, Policy Press, 2020, p.167


Ross, Alex. 'Black Scholars Confront White Supremacy in Classical Music’, The New Yorker, September 21, 2020 Issue (https://www.newyorker.com/magazine/2020/09/21/black-scholars-confront-white-supremacy-in-classical-music)


Saha, Animika. Race and the Cultural Industries, Cambridge, Polity Press, 2018



Other links:


Reni Eddo-Lodge, ‘About Race’ Podcast: https://open.spotify.com/show/6RNwASBcNjuK4tuqdaXzBn?si=HpdnW300Rn2OcAPcSzO5sg


Music Matters: ‘Class, Race and Classical Music’ debate, 2014:

www.youtube.com/watch?v=hQBtZXtTayA


George Burrows: ‘Choral ballads and difficult discussions: Approaching anti-racism in choral culture’

https://musicinportsmouth.co.uk/noticeboard/choral-ballads-and-difficult-discussions-approaching-anti-racism-in-choral-culture/





Oct 2020


Echo INTERACTIVE



We're delighted to be launching our INTERACTIVE series of free online events this autumn for you to take part in! Sign up to our mailing list for links to all events and performances, or follow us on social media to get weekly links. We want to thank Arts Council England for their support in bringing this programme to you.



Sep 2020


New Appointment


After an open call out with 120+ applications, in September we appointed Aminita Francis to join the creative team as a co-leader and collaborator. She is an actor-devisor and vocal artist whose practise revolves around using the human voice to tell stories.


She specialises in song, beatboxing, spoken word, rap, live looping and vocal processing, and she plans to work with the singers to encourage them to use the full capabilities of the human voice in rehearsal and performance, alongside devising improvisations as a group.


We're thrilled to be working with Aminita and can't wait to get started on the rehearsal process!



August 2020


New 'Inside the Music' video released


We've just launched a NEW video, featuring Echo in rehearsal, discussing the context behind Benjamin Britten's fascinating piece from 1938, Advance Democracy, which is set to a text by Randall Swingler.


Check it out here and over on our youtube channel.


July 2020


Open Call for New Collaborator


We are looking for a collaborator to work with on 'Listening to Lassus', a theatre piece that premieres in spring 2021. It's very exciting to be devising our first piece of theatre as a group, alongside the brilliant dramaturg Miriam Sherwood. This is an opportunity for a third collaborator to join the creative / directing team, and to bring their skills, experience and specialism to the production.


Head to our recruitment page for full details about this opportunity.



May 2020
On Receiving Arts Council Emergency Funding

We were delighted this week to find out that we have received Emergency Arts Council Funding in the latest round of announcements. However, this news also bears a weight of responsibility - we know that there will be many organisations who were unsuccessful in applying for funding, and whose work makes a valuable contribution to the arts in the U.K. We are therefore determined that this funding will be well used to create innovative content of the highest quality for our audiences.

This is an extremely worrying time for arts organisations both big and small, as the lockdown has caused income streams to dwindle whilst staff costs and overheads are maintained. We are thinking all of our colleagues and friends in the sector at the moment, and desperately hoping for the return of a thriving musical scene after this crisis.

As a young, small organisation with barely any reserves, we have been unable to create work so far during the lockdown. We are committed to paying our freelance singers properly for their work, and want to make sure anything virtual we create is well planned, funded and executed. Therefore, the ACE emergency grant of £5740 will fund administration costs in June and July for the ensemble and five days of training, content creation and public-facing live streaming in September and October, which will be carried out digitally by 10 performers.

These five days will take the music of composer Orlande de Lassus as a starting point in an exploration of the act of listening, of the appeal (or not) of Renaissance polyphony, of high vs low art and stereotypes within classical music.

An uncompromising focus on stripping ‘the arts’ of its barriers, pretension and stereotypes is at the heart of what Echo intends to do within classical choral music, while aiming for musical excellence at all times. There are three main projects we are focusing on in 2021 and beyond which all aim to innovate within the sector of ensemble singing, reach a diverse audience and break down barriers within this art form.

The first of these, ‘Listening to Lassus’ is a project that will culminate in a toured theatrical consort performance in collaboration with dramaturg Miriam Sherwood. Miriam works in a creative documentary style theatre drawing on social history with an informal presenting style that blurs the line between performance and presentation. The production will tackle the stereotype of 'elite' music in a lighthearted and personal way. It will have interactive elements; asking the audience to rate and respond their own reaction to the music within the production, as well as some full room singing and group analysis of the music.

We designed our virtual project this September with 'Listening to Lassus' in mind - acting as research and development for that project, while creating employment for our freelancers and quality, innovative content for our audiences.


March 2020

Projects in development

We've just launched our new projects page, which outlines details of our 'Listening to Lassus' project, working alongside director Miriam Sherwood, and our planned series of improvisation workshops in 2021.

Head over there and take a look! 



Jan 2020
Charity Status
echo introduces our inaugural board of trustees

We are delighted to have received Charity Status, and we've formed our inaugural board of trustees:

Sarah Ralphs (Chairperson)
Matt Neudegg
Nick Jackman
Naomi Taylor
Dan Sargeant


Oct 2019

Choir & Organ

This month, we had a feature in the magazine Choir and Organ. Clare Stevens, in her beautifully written piece, described the group's singing as "magical", and interviewed Sarah about our work as Artist in Residence with Ryedale Festival this summer, alongside our ethos and focus on improvisation, accessibility and excellence. 

Click on the image below to see the full article.



Sep 2019

Composition Competition


In May 2019, echo launched a competition looking for a new piece for vocal ensemble to be performed as part of our 2019/2020 season. The competition was judged by guest judges Robert Hollingworth, Judith Weir and members of the group.

After receiving over 90 entries, we are delighted to announce that we have come to the decision to award joint winners to Lillie Harris and Rory Johnston. We've also highly commended a shortlist of James Brady, Janet Oates and Karen Lemon


Lillie Harris


"It is such an honour to have been selected by Echo as joint-winner of their composition competition. The poem that they asked entrants to respond to, 'Dunt: a poem for a dried up river' by Alice Oswold, just sang out at me right away, and I knew I had to have a go at setting it. I cannot wait to hear them perform my piece as they are such a talented and expressive ensemble."


@lilliepharris

www.lillieharris.com

Rory Johnston


"I am thrilled to have been chosen as the joint winner for Echo's composition competition, they are such an interesting ensemble exploring different ideas with programming and improvisation, so I'm excited to hear how they bring my slightly odd piece to life!"


@rorywainwright

www.facebook.com/rorywainwrightjohnston

www.rorywainwrightjohnston.com


Judges Feedback

Robert Hollingworth

"Bravo to all those who took part. For different reasons, Judith and I loved the varied approaches that composers took and their inspired embodying of the text - the choral composer's holy grail. (Ni.) How excellent that a newish choir is already commissioning music in this way and has got to know a range of composers' works as a result."

Judith Weir

"A notable feature of echo’s competition has been the freedom given to entrants, with the invitation either to set the offered text, or to respond to it with other poetry. Two very free interpretations have been the winners - along with a strong shortlist of ‘highly commendeds’, all well worth hearing."



June 2019 

Echo Radio 3 debut


This week we joined the lovely Katie Derham on 'In Tune', to sing live on BBC Radio 3 and talk about our upcoming projects.  Co-artistic directors Sarah and Sam discussed the group's upcoming residency at Ryedale Festival and we sang three pieces from our collaboration with the London Philharmonic Orchestra and James MacMilllan.

William Byrd: Lullaby, my sweet little baby
Judith Weir: Ave Regina Caelorum
Grzegorz Gerwazy Gorczycki: Agnus Dei 
(from 'Missa Paschalis')

Have a listen below:

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