Guest Conductor announcement

We’re thrilled to announce that Ellie Slorach will be conducting our next two concerts.

Our Artistic Director Tom Herring is taking a sabbatical this Autumn and whilst he’s off we have two London performances which will be led by Ellie.

Find out more about Ellie via her website.

On Thursday 7 November, SANSARA will open the 2024 Joy & Devotion festival of Polish sacred music at St James’ Piccadilly. And on Saturday 14 December, the choir will join forces with United Strings of Europe and oud master Basel Saleh to present our Sanctuary & Solidarity programme at the Barbican’s Milton Court.

Head over to our events page to book your tickets now.

New album out now

Our new album in the midst is out now on all streaming platforms.

Recorded in November 2023, in the midst is our latest release in collaboration with United Strings of Europe as part of our wider Sanctuary & Solidarity project.

“Music has the unique capacity to hold cultural memory. Our aim with this recording is to capture a moment when the meaning held in these works feels acutely relevant and important. Our hope is that these recordings will inspire future iterations of these pieces, each performance surfacing in sound the deeply felt emotions enshrined within them. ”

— Tom Herring, Artistic Director

Choir & Organ cover feature

We’re hugely grateful to Choir & Organ for featuring us on the cover of the latest issue of the magazine and an in depth interview with our Artistic Director Tom Herring.

Barbican concert now on sale

Tickets for our performance at Milton Court on Saturday 14 December are now on sale.

We’ll be performing alongside our friends and collaborators United Strings of Europe and oud master Basel Saleh, sharing music from our upcoming release in the midst.

Rothko Chapel Reviews

Rothko CHapel Reviews

Earlier this month, we hit the road with Manchester Collective to tour our joint Rothko Chapel programme

Rothko Chapel at Bridgewater Hall - © Charlotte Wellings

With concerts at London’s Southbank Centre and Manchester’s Bridgewater Hall framing the trip, we also made our debut appearances in Germany and Belgium.

Here’s a round up of how it went down…

“⭐️ ⭐️ ⭐️ ⭐️ ⭐️
a wonderfully subtle and hushed sense of the numinous. This was singing of an extremely high order, and the close-written choral sounds were quite extraordinary, with bell-clear soprano soli.”

— Robert Beale, The Arts Desk

Rothko Chapel at Bridgewater Hall - © Charlotte Wellings

“⭐️ ⭐️ ⭐️ ⭐️
[an] exquisitely moulded performance”

— Andrew Clements, The Guardian

Rothko Chapel at Erholungshaus, Leverkusen

“⭐️ ⭐️ ⭐️ ⭐️
Today’s concert ticked all the boxes for a great show: clever light set-up, a few introductory remarks, seamless transitions, skilled musicians and, naturally, an exciting programme. The ambitious goal to “invite contemplation” and “create a spiritual space” was gloriously accomplished.”

— Marat Ingeldeev, Bachtrack

Rothko Chapel at Bridgewater Hall - © Charlotte Wellings

“Pitching from SANSARA is (pardon the pun) simply off the scale... An utterly remarkable, unforgettable concert. In SANSARA, Manchester Collective has surely found an aesthetic twin.”

— Colin Clarke, Seen & Heard International

Chair of Trustees opportunity

We’re recruiting a new Chair for our Board of Trustees.

Find out more about the process and submit your application by following the link below:

Review: Christmas at Kings Place

“a thrillingly mysterious and profound Christmas alternative”

— Rachel Halliburton - The Arts Desk

We’re thrilled to have received a wonderful review of our Christmas concert at Kings Place on 20 December 2023, written by Rachel Halliburton for The Arts Desk. Read in full using the button below:

Our new podcast series

traces of the white rose

The Podcast

We’re thrilled to announce the launch of our new podcast series, Traces of the White Rose which is released today via University of Oxford Podcasts and available to listen now.

New Record Deal

New Record Deal

We’re thrilled to announce a new three album record deal with our label partners Platoon.

Future recording projects include collaborations with renowned ensembles Fretwork and United Strings of Europe, opening the next exciting chapter of our recording work.

“I’m over the moon to be working with Platoon and can’t wait to build on our existing recordings with three new ambitious projects”

— Tom Herring, Artistic Director

Traces of the White Rose

Traces of the White Rose

Find out more about our multi-dimensional project exploring the lives and stories of the members of the White Rose resistance through a new podcast series and live performances.

The White Rose was an anti-Nazi movement run by a core group of five students and a professor in the southern German city of Munich in the early 1940s after the outbreak of the Second World War…

The White Rose resistance stretched far beyond Munich, but at its heart there were six individuals: students Hans Scholl (1918–1943) and his sister Sophie Scholl (1921–1943), Christoph Probst (1919–1943), Alexander Schmorell (1917–1943), Willi Graf (1918–1943), and Professor Kurt Huber (1893–1943).

Between 1942 and 1943 the group wrote and distributed six pamphlets calling on their fellow Germans to mount passive resistance against the Nazi regime. They used a second-hand duplicating machine, and even obtained paper, envelopes, and stamps despite wartime shortages. 

They distributed the pamphlets at great personal risk. On 18 February 1943 Hans and Sophie Scholl took copies of the sixth pamphlet to the University of Munich and deposited them around the atrium at the entrance of the main university building. They were spotted by a university caretaker, and were immediately detained by the Nazi secret police, the Gestapo.

Following their subsequent arrests, on 22 February Hans Scholl, Sophie Scholl and Christoph Probst were sentenced to death and executed by guillotine just hours after the conclusion of their trial. Alexander Schmorell, Kurt Huber, and Willi Graf were subsequently arrested, tried, and sentenced to death on 19 April. Schmorell and Huber were executed three months later, on 13 July, and Graf was executed on 12 October 1943.

The texts that remain are the traces of people who lived and risked their lives for freedom – resistors who stood up to Nazism, and paid with their lives.

“Wherever you may be, mount passive resistance – RESISTANCE …Remember that every people deserves the government it is prepared to tolerate.”

— From the 1st pamphlet of the White Rose

Our partners

We have been working on a multi-faceted recording and cultural exchange project in collaboration with the University of Oxford’s White Rose Project, led by Dr Alexandra Lloyd, a lecturer in German Studies and author of Defying Hitler: The White Rose Pamphlets.

Through the White Rose Project, current Oxford University students have provided us with vivid new English translations of the group’s letters, diaries and resistance pamphlets. Alongside their powerful political writings, hearing their private words reveals the human reality behind the groups’ political activism. 

“There are times when I dread the war and I’m on the brink of losing all hope. I don’t like to think about it, but soon there won’t be anything but politics, and as long as politics is this confused and evil, turning away from it would be cowardly.”

— Sophie Scholl, 1940

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The Podcast

This collaboration has encouraged us to think beyond traditional formats for choral music and we are delighted to announce that Traces of the White Rose will be released by Oxford University Podcasts on 12 October 2023, the 80th anniversary of the final White Rose executions. 

We’ll be sharing the story of the White Rose in the resistors’ own words, alongside choral music from our latest album Traces.

We know that the members of the White Rose were all highly creative and musical people - they sang in choirs, played instruments and went to concerts together. Professor Kurt Huber was also a musicologist and folk song collector. One of Dr Alex Lloyd’s theories is that their engagement in music, art, and culture might have helped them to imagine a world beyond the Third Reich, which in turn led them to take political action. 

“Music softens the heart; it orders its confusion, relaxes its tension, and creates the conditions for the work of the spirit in the soul which had previously knocked in vain at its tightly sealed doors. Yes, quietly and peacefully music opens the doors of the soul…”

— Sophie Scholl, 1942

As Sophie Scholl writes, music creates the conditions for the work of the spirit. The music in the podcast represents their cultural imagination and embodies their connections to each other - multiple voices working together to express their profound sense of responsibility to speak up and be heard. 

Traces of the White Rose  Podcast was made with support from the Genesis Foundation Kickstart Fund, the University of Oxford’s Public Engagement with Research Seed Fund, The Oxford Research Centre in the Humanities, and the Higher Education and Innovation Fund.

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Live performances

Alongside the launch of the podcast we will be presenting two live performances of Traces of the White Rose in the coming months, combining the translations from the White Rose Project with music from our most recent album Traces.

Friday 6 October

St Martin-in-the-Fields, London

Saturday 11 November

Wiltshire Music Centre

Byrd400: Windows of men's souls

Windows of men’s souls

Tenor Jonathan Hanley explores the context of William Byrd’s life and music ahead of our anniversary concerts.

William Byrd is probably the most famous of all of the wonderful English composers of the sixteenth-century, and for good reason - his music is full of character, imagination, and pathos, and a watershed in compositional style for vocal music in England.

Etching by Gerard Vandergucht (British Library), Public Domain

The 400th anniversary of Byrd’s death in 2023 has seen a fantastic celebration of his work across the world. The thrilling tale of pieces written for secret services in great houses with priest holes and the ever-present threat of persecution is a fascinating accompaniment to his magnificent music. That the work of a man who gave voice to those in his community who were unable to speak continues to resonate with musicians and audiences alike 400 years later, is an even more compelling reason to celebrate Byrd.

“Byrd was risking not only treason but also heresy if he put a foot wrong. ”

His experience was a unique one. Whilst he enjoyed the patronage and protection of a Catholic aristocratic house in his later years, he spent the heyday of his career in London, not only working for the protestant Elizabeth I, but enjoying her benefaction and favour while writing works that were clearly evoking and sympathising with the plight of Catholics persecuted for their faith. Publishing three settings of the Latin mass in the 1590s under his own name was not only brave and bold, but a defiant act. Unlike Shakespeare, who also got away with a certain amount of artistic license, Byrd was risking not only treason but also heresy if he put a foot wrong. 

The opening of the Cantus part from Byrd’s Mass for Four Voices (IMSLP)

Edmund Campion by J.M. Lerch; Antwerp (British Library)

Elizabeth had famously said on her accession that she didn’t desire to ‘make windows of men’s souls’, a sixteenth-century version of ‘don’t ask, don’t tell.’ After two reformations and a reversion to Catholicism in less than 20 years, Elizabeth saw that there was clearly a need for compromise, as long as nobody made a scene. The threat of persecution from a Queen whose religion and politics were so intertwined and changeable can never have been far away though. There are famous examples of those Elizabeth martyred for their faith – Byrd’s friend Edmund Campion for one – though, by and large Elizabeth was much more tolerant than her sister, Bloody Mary. 

This tolerance seems to have been based on pragmatism and an ability to adapt and play the game. The first archbishop of her new Anglican church was Matthew Parker, a Protestant who had played a convincing enough part to survive the purges of England under Mary, Elizabeth’s sister. Byrd, whilst a Catholic, knew how to keep his head down in Elizabeth’s protestant England, and therefore enjoyed her support. He worked as a Gentleman of the Chapel Royal, and he and his friend and teacher Thomas Tallis were given a monopoly on printing music in England. He was clearly a man, like Tallis, who understood how faith, politics and loyalty intersected. 

“There is much that is unspoken in Byrd’s work”

Clearly the great contradiction in Elizabeth’s policy was that through her patronage, she allowed Byrd to open a window into his own soul through his incredible music, giving voice to so many who were in his position. There is much that is unspoken in Byrd’s work in the texts he chose to set, the importance of his rhetoric and the way he highlights the most significant passages. Many of the texts make reference to contemporary Jesuit works, which means that many of these pieces, when heard or performed by Catholic households in domestic settings, would have taken on additional meanings. It’s clear that Byrd is at his best in large-scale, plangeant and nostalgic outpourings like Infelix ego or Ne irascaris, and he manages to give voice to both a personal and communal grief in his style.  

In 2022, SANSARA commissioned a piece of music written by Ukrainian composer Natalia Tsupryk. A Quiet Night - Tyhoyi Nochi sets text by renowned Ukrainian poet Serhiy Zhadan and quotations from one of President Volodymyr Zelensky’s many powerful speeches. Like the music of Byrd, Natalia’s piece is a musical expression of solidarity, a vehicle for compassion and reflection and a catalyst for connection. We’ve been overwhelmed and uplifted by the response to Natalia’s beautiful music, and the many communities around the world that have performed the piece and shared their experiences with us.

“after darkness I hope again for light”

The final section of Libera me Domine, et pone me juxta te, one of the pieces we’ll be performing in our upcoming concerts, sets the text ‘after darkness I hope again for light’. This universal and human prayer is at the heart of much of Byrd’s work and still resonates four centuries after his death, giving voice to those who need hope for a new dawn.

- Jonathan Hanley

We’ll be performing our anniversary programme Before the Dawn in the first week of July - find out where and book tickets via the link below:

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We’ve put together a Spotify playlist for our programme which you can listen to below:

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Matthew Johnson Photography

Jonathan Hanley is a regular tenor with SANSARA and worked closely with Artistic Director Tom Herring to devise our Byrd anniversary programme Before the Dawn. Find out more about Jonathan and his work via his website.

Palestrina meets Harvey

palestrina meets harvey

On Friday 31 March, we return to London’s St Martin-in-the-Fields to present our choral-electronic programme and the London premiere of Jonathan Harvey’s mesmerising arrangement of Palestrina’s Stabat Mater for choir and surround sound electronics.

This blog post takes you through the programme which features music by Josquin des Prez, Rhiannon Randle, our collaborator for this project Joe Bates, and of course Palestrina and Harvey.

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Mortuos Plango, Vivos Voco (1980) is a seminal work of electronic music, composed by Harvey in his first year at IRCAM, the flagship French electronic music studio. The work displays Harvey’s curious mix of influences: the rigour and strangeness of French serialism, the sonorities of the English cathedral tradition and his idiosyncratic spiritualism.

The piece takes two samples: the great tenor bell of Winchester Cathedral, and the voice of Harvey’s son, Dominic, who was a chorister at Winchester at the time. The bells give the piece its name: inscribed on them is the text ‘Horas avolantes numero, mortuous plango, vivos ad preces voco.’ (I count the fleeing hours, I lament the dead, I call the living to prayer.)

As listeners, the multi-channel speaker system places us inside the bell. The piece transforms its complex tones, modulating in gliding swoops between its layered pitches. Harvey describes himself turning the bell ‘inside out’, making its low notes decay quickly and its high notes linger on. Dominic’s singing is warped too, its consonants and vowels split and manipulated. These effects were at the cutting edge of computer music: a persistent feature of Harvey’s work is the combination of new technology with ancient sources.

This is followed by Josquin des Prez’s stunning motet Inviolata, integra, et casta es Maria à5, introducing the Marian theme that runs through the rest of the programme. The chant melody is presented in canon between the tenor and alto parts with the other voices surrounding these lines in imitative free polyphony. The music ebbs and flows, moving seamlessly between passages of lilting motion and moments of pure stasis such as the tricolon ‘O benigna! O Regina! O Maria!’. 

Written for the Choir of St John’s College, Cambridge in 2011, The Annunciation is one of Harvey’s last works. Most notable in the context of this programme is the opening phrase of the piece which directly quotes Palestrina’s Stabat Mater. This, along with Harvey’s own arrangement of the Palestrina, show how important this 16th century masterpiece was to him, not only when transposing it into new worlds via electronics, but also in an a cappella setting. The reference to the Stabat Mater is particularly striking given the context in Edwin Muir’s annunciation scene: the innocence of ‘the girl’ is shrouded by Harvey’s musical allusion to Mary’s grief following the crucifixion. 

As with The Annunciation, Palestrina’s Stabat Mater was written towards the end of his life around 1589/90. Continuing the syllabic style established in the Missa Papae Marcelli, the antiphonal writing for the two choirs points to Venice and shows Palestrina’s awareness of the fashionable polychoral writing of the time. It is easy to see why Harvey was so moved by this piece, with its impassioned setting of one of the most human of sacred texts. 

Joe Bates’ Ceasing was commissioned by SANSARA for the 2019 Sound Unbound festival presented by the Barbican and first performed at St Bartholomew the Great in May 2019. Ceasing considers how we deal with death. It was inspired, in part, by the text of the Stabat Mater and by the writing of Derek Parfit. Parfit emphasises how death is more continuous with life than we may imagine, considering how our memory lives on in the minds of others. 

Joe describes his process further:

“To write this piece, I interviewed the singers of SANSARA about their experiences of death. This was a strange and moving process; I’m immensely grateful to the singers for their openness. Their stories have been integrated into the text of the piece, which I have written myself.

The piece starts with specificities of my grandmother's death: I rushed to reach the hospital in a taxi but arrived moments after she died. I consider what I missed: how do lives typically end? The piece then opens out further, integrating the individual stories of the singers, first in a huge texture, then as recorded telephone calls, filtered through electronic static. The electronics blur and magnify the choir, suggesting the mass of similar stories behind them, while the structure of the piece – from coherent counterpoint to blurred fade out – evokes a fading consciousness.”

Punctuating the two large scale choral-electronic pieces in the programme is a contemporary setting of O nata lux by Rhiannon Randle who employs dissonance in striking ways throughout the piece, echoing the false relations in Thomas Tallis’ well-known setting of the same text.  

Written some two decades after Mortuos, Harvey’s arrangement of Palestrina’s Stabat Mater (2004), in collaboration with the programmer and composer Gilbert Nuono, explores similar piece to the earlier electronic work. The arrangement combines three versions of the Stabat Mater: one sung live by the choir, one processed live from the microphones, and one pre-recorded by another choir and transposed.

These layers create a kaleidoscopic re-working of Palestrina’s work, as the transposed pre-recordings push the tonality into strange new areas. Yet these new key centres always carefully relate to the original, resulting in surprisingly smooth modulations. The live processing of the vocals varies from atmospheric to apocalyptic, recalling at moments an over-saturated echo and at others a whirling cacophony.

For many years, this piece was not able to be performed due to the obsolescence of its digital components: it was composed using Apple’s PowerPC architecture, which has not been supported since 2011. Nuono painstakingly restored the programme in 2022, with the support of Lammermuir Festival and Faber Music, to whom we are hugely grateful. In September 2022, we gave the piece’s UK premiere at the Lammermuir Festival and we’re thrilled to be giving the London premiere at St Martin’s on Friday 31 March.

- Tom Herring & Joe Bates

Gramophone Editor's Choice

We’re delighted to share the news that our new album Traces is Gramophone Magazine’s Editor’s Choice for their latest edition.

In every issue of Gramophone, Editor Martin Cullingford chooses 12 albums as his Editor's Choice. In April’s issue, that list includes SANSARA and our latest release, Traces.

“A powerful programme of thought-provoking works, both timely and timeless, the impeccable performances by SANSARA drawing us in and holding us throughout the deeply reflective journey.”

— Alexandra Coghlan, Gramophone

In her wonderfully thoughtful review, Alexandra Coghlan describes how “What sets [Traces] apart are not only some unusual repertoire choices but also the dialogues, musical, textual and thematic, that run through it.”

Singing for Ukraine

singing for ukraine

Six months ago on Ukrainian Independence Day, we released A Quiet Night - Tyhoyi Nochi by Natalia Tsupryk in collaboration with VIVO Vocal Ensemble. The piece was commissioned as an act of solidarity with the people of Ukraine and in an effort to create something new and beautiful at a time of so much destruction and loss.

Since August, the piece has been performed all over the world by choirs, bringing people together with local Ukrainians in their communities and acting as a creative expression of defiance in the face of Russian aggression. 

Here is our performance which we recorded at the Ukrainian Cathedral in London:

To mark the terrible occasion of the one year anniversary of the full scale invasion of Ukraine, we have gathered some words from those who have performed the piece, along with two videos of live performances. As the war rages on, we would like to encourage choirs to perform A Quiet Night and - where possible - to collaborate with and raise funds to support those who have been displaced by conflict in their communities.

The score is available to purchase via the button below with all proceeds from downloads contributing to our fundraising appeal for the Ukrainian Welcome Centre in London.

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One of the first choirs to perform the piece was the Sorbonne University Chorus directed by Frédéric Pineau. We love the intensity of their performance and the way the singers on the drone part are spread around the building. Watch it in full below:

In December, the Norwegian choir Sjøbodkoret performed the piece as part of their Christmas concert under the direction of Andreas Stensholt who has shared a few words of their experience of the piece:

I was introduced to this piece by one of my singers this autumn and it moved me from the very beginning. The music itself is beautiful, and of course it becomes even stronger because of the underlying context. For me this became a piece of reflection and a reminder that we must not forget. In Norway we hear about the war on the news, we take in some refugees, but let's be honest: our daily life is not affected that much. So we get back to our daily lives after the first shocking news about war in Europe. 

We tried to give ourselves and the audience a reminder about what is still very much a reality every day for the people of Ukraine. It was one of the most emotional openings of a concert I have ever conducted. I wanted to create a room of silence, and also a feeling of distance between us and the audience. The whole concert opened with silence. The singers stood in the center of the church with their backs towards the audience. Then the drone started from the organ gallery. I chose to have the english "drone-words" spoken. The Norwegian audience is quite fluent in English, and I wanted those words to be clearly understood. The next piece was an a cappella version of "Silent Night". For me this completed the message: the meaning of a quiet, or a silent night can be so totally different.

On the same day as the performance in Norway, Mumbles A Cappella performed the piece at St Peter’s Church in Newton, Wales. Their director Phil Orrin has told us of the choir’s determination to support the people of Ukraine at this difficult time, adding:

Our choir thoroughly enjoyed learning the composition and found the whole process very moving - our Ukrainian singers and guests at the concert were equally moved by this thought-provoking and emotional piece of a cappella music.

“I felt a sense of responsibility to do it justice because of its significance and importance. The emotional investment ran strong through the choir that night. It felt as if we sang it for Ukraine.”

— Ruth Williams, Mumbles A Cappella

Our new album Traces is out now

traces is out now

Our fourth album Traces is out now on all streaming platforms and available to purchase via the iTunes Store.

Use the link below to listen via your preferred listening service.

Mauersberger - Herr, lehre doch mich

Herr, lehre doch mich

The second single from our new album Traces is a beautiful prayer for lower voices by Rudolf Mauersberger.

Rudolf Mauersberger (1889-1971) was a German conductor and composer best known for his work as the conductor of the Dresdner Kreuzchor from 1930 until his death. Following our recording of his powerful motet Wie liegt die Stadt so wüst, we were pleased to discover Herr, lehre doch mich, a simple yet deeply moving prayer for lower voices with text from Psalm 39, best known in English as ‘Lord, let me know mine end’.

Tenors and basses during the sessions at St Jude’s, Hampstead
Photo © Nick Rutter

Smyth - Komm, süsser Tod

komm, süsser tod

The first single from our new album Traces is Ethel Smyth’s stunning Komm, süsser Tod.

This short but powerful piece is one of ‘Five Sacred Partsongs Based on Chorale Tunes’ written between 1882-1884 during Smyth’s time in Leipzig when she met both Johannes Brahms and Clara Schumann.

Alto Amy Blythe during our recording sessions at St Jude-on-the-Hill in Hampstead.
Photo © Nick Rutter

In contrast to a chordal texture of a chorale, Smyth uses the melody line to build a haunting four part polyphony with the choral tune in the sopranos and surprising twists and turns throughout. This approach creates a sense of parity to the music, giving expressive profile to each of the lower three voice parts in equal measure and allowing the text to be repeated throughout each phrase, in turn increasing the poignancy of this plea for a peaceful final rest.

Our recording is the first to be made of the piece and will be available on all streaming platforms from Friday 3 February.

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MULTITUDE OF VOYCES

We’re hugely grateful to the work of Louise Stewart for bringing this music to life. We spoke to Louise about the piece:

In the planning of the first, groundbreaking volume of our anthology series it was important to ‘set out our stall’ as a charitable organisation with a clearly-defined purpose; to draw attention not just to high-quality music by women composers, of which many parish, cathedral, school and community choirs may not previously have been aware, but also advertently to raise up women both historical and living, who had and have, whether deliberately or co-incidentally, furthered the cause of gender equality for their peers and successors through their example and leadership. The inclusion of Ethel Smyth was a must.

Her long life (1858-1944) spanned an extraordinary period in British and world history, and, whilst her childhood was rooted in the upper-middle-class mid-Victorian conventions which expected women to contribute little to society beyond wifely obedience and motherhood, and which could be suspicious of overt displays of female talent, Ethel Smyth was able to use the significant advantage of the financial and social benefits afforded to her by not having to earn her own living, and her own considerable strength of character, to invest her time not only in determinedly developing her own creative gifts but also, through her involvement in the Women’s Social and Political Union (WSPU), in helping to create the social and political freedoms on which the lives of (some) women of our generation are founded.

Maks Adach, a widely-experienced church-musician, had already blazed a trail for Ethel Smyth’s music and for the better-representation of women composers within the liturgical repertoire, by preparing an edition of her Five Sacred Partsongs* based on Chorale Tunes (composed c. 1877-1885). The set was performed by the Girl Choristers and Lay Vicars Choral of Lichfield Cathedral in 2018, under their director Martyn Rawles, in a service which marked the centenary of the Representation of the People Act 1918, a crucial Act which gave [some British] women over 30 the right to vote.

*The full set of Chorales is available from multitudeofvoyces.co.uk

Louise Stewart
Multitude of Voyces
(registered charity no 1201139)

Our new album: Traces

traces

We’re excited to share details about the release of our latest album - Traces.

Available on all streaming platforms from Friday 17 February, Traces features a wide range of powerful choral music by German, British and Ukrainian composers. The programme originates in our White Rose project and grapples with the challenge of finding inner peace during fractured times.

In advance of the full album release, we have two singles coming out on 3 and 10 February - Ethel Smyth’s stunning Komm, süsser Tod and a short prayer by Rudolf Mauersberger called Herr, lehre doch mich. You can see the full programme and album artwork below and we’ll be sharing more about the album in the coming weeks on our social media channels.

Session photo by Nick Rutter

Traces track listing

The album is punctuated by Philip Moore's Three Prayers of Dietrich Bonhoeffer and features first recordings of pieces by Ethel Smyth, Paul Ben-Haim and our regular low bass Piers Connor Kennedy.

Philip Moore Three Prayers of Dietrich Bonhoeffer: Morning Prayers
Max Reger Nachtlied, Op. 138, No. 3
Johannes Brahms Warum ist das Licht gegeben?, Op. 74, No. 1
Ethel Smyth Komm, süsser Tod
Clara Schumann Abendfeier in Venedig
Peter Cornelius Requiem
Philip Moore Three Prayers of Dietrich Bonhoeffer: Prayers in Time of Distress
Natalia Tsupryk A Quiet Night - Tyhoyi Nochi
Cecilia McDowall Standing as I do before God
Heinrich Schütz Selig sind die Toten
Rudolf Mauersberger Herr, lehre doch mich
Paul Ben-Haim Psalm 126
Piers Connor Kennedy Blessed are the Peacemakers
Philip Moore Three Prayers of Dietrich Bonhoeffer: Evening Prayers

Session photo by Nick Rutter

Album artwork

Following our collaboration on the artwork for our latest single A Quiet Night - Tyhoyi Nochi, we’re delighted to have this stunning painting by Ukrainian artist Maria Krivopishina as the album cover for Traces.

Muhly - Malmesbury Motets

Malmesbury motets

NICO MUHLY

As we enter the new year, here's our performance of Nico Muhly's Malmesbury Motets - a reflective sequence in three movements for choir and solo viola da gamba, featuring the brilliant Liam Byrne. Setting three well-known Biblical texts, their enduring theme of light in darkness is a timely reminder of the strength of hope and optimism.

Translations
I. And the earth was without form, and void; and darkness was upon the face of the deep. And God said, Let there be light: and there was light.
Genesis 1:2-3

II. The people that walked in darkness have seen a great light: they that dwell in the land of the shadow of death, upon them hath the light shined.
Isaiah 9:2

III. In him was life; and the life was the light of men. And the light shineth in darkness; and the darkness comprehended it not.
John 1:4-5

Music Nico Muhly
Viola da Gamba Liam Byrne
Artistic Director & Conductor Tom Herring
Soprano soloist Lucy Cox

Audio Producer Jacob Ewens
Sound Engineer David Jones
Mixing Engineer Alex Ackermann
Audio Editor & Mastering Engineer David Jones
Director of Photography Ben Tomlin
Camera Operators Kamau Kelly
Video Editor & Colourist Ben Tomlin

Filmed at St Jude's Church, Hampstead on Friday 27th October 2022.
Supported in part by the Golsoncott Foundation.

Fiona's Lammermuir write up

Fiona Fraser reflects on our two concerts at the Lammermuir Festival

A few weeks ago, we spent a great couple of days performing at the Lammermuir Festival in East Lothian. This was particularly exciting for me, as I always love the opportunity to get back home to Scotland, and to see my family if at all possible!

© Stuart Armitt

For our first concert, we were at Our Lady of Loretto and St Michael’s Church in Musselburgh to perform our Vox Machina programme for choir and live electronics. This programme included Ceasing by Joe Bates, which we premiered at the Barbican Centre’s Sound Unbound Festival in 2019, as well as the UK premiere of Jonathan Harvey’s Stabat Mater. Alongside these pieces for voices and electronics, we also sang Rhiannon Randle’s beautiful O nata lux, Palestrina’s double choir Stabat Mater and Josquin des Prez’ Inviolata.

“hugely impressive and wonderfully performed”

— Brian Bannatyne-Scott, Edinburgh Music Review

This is such an exciting programme to perform, as the electronics are constantly processing and manipulating the sounds made by the singers. The technology reacts in real time, and so no two performances of these pieces will ever be quite the same. The sound world created is striking, but the more personal side of this programme is also very interesting. As part of his piece, Joe Bates collected stories and memories about loss from the singers, and these snippets of text were then worked into his composition. Although it is quite an unusual experience to revisit and perform words you wrote years ago, having them as such an integral part of the composition also feels like a fitting way to preserve them.

The world premiere performance of Ceasing by Joe Bates at St Bartholomew-the-Great, London in May 2019.

Our second concert was a total contrast, celebrating the works of William Byrd and his contemporaries. In the morning, we drove out of Haddington and into the countryside near Garvald to Nunraw Abbey. The only building you can see for quite a few miles, the Abbey sits at the foot of the Lammermuir Hills, and is a fully working monastery. The monks living there were very welcoming, and it felt special to be allowed access to perform there.

© Stuart Armitt

We sang in the refectory, its beautiful high vaulted ceilings and atmosphere of total peace and quiet making it the perfect place to explore the spirituality, and torment, of Byrd’s music without distraction. I particularly enjoyed singing the De Monte Super flumina Babylonis alongside Byrd’s answering Quomodo cantabimus. Thirty years after visiting England, De Monte set the first three verses of the song of captivity, psalm 137, ‘by the waters of Babylon we sat down and wept when we remembered thee, O Zion’. He then sent it to Byrd, a devout Catholic living in post-Reformation England, who responded with a setting of the next four verses of the same psalm, also in eight parts and the same key. However, although Super flumina feels very melancholic, Byrd’s setting of ‘how shall we sing the Lord’s song in a strange land’ has a quiet defiance in his plea to not forget Jerusalem (i.e. Rome). It felt very poignant to sing these words in the beautiful setting of Nunraw Abbey.

“expert interlocking of exquisite voices in a sound that takes us beyond our everyday selves”

— Vincent Guy, Edinburgh Music Review