## **SongEasel**
**Report of the Trustees and Unaudited Financial Statements**
**For the Year to 31 October 2025**
Registered Charity number: 1197751
1
|**Contents**|**Page**|
|---|---|
|Report of the Trustees|3|
|Independent Examiner’s Report|11|
|Statement of Financial Activities|12|
|Statement of Financial Position|13|
|Notes to the Financial Statements|14|
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## **Report of the Trustees**
The Trustees are pleased to present their annual report and financial statements for the year to 31 October 2025. The Trustees have adopted the provisions of Accounting and Reporting by Charities: Statement of Recommended Practice applicable to charities preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK and the Republic of Ireland (FRS 102) (effective 1 January 2019).
## **Objectives and Activities**
The charity’s purposes, as set out in its governing document are:
To advance the education of the public, groups and individuals in, and promote the understanding, appreciation, composition, and performance of song, both its poetry and music, through a series of events governed by a strong artistic vision including (but not limited to):
- a) The arrangement of an annual song recital series; and
- b) A significant outreach and audience development component incorporating:
- (i) Workshops with local schoolchildren;
- (ii) A Young Artist programme;
- (iii) Talks and educational events; and
- (iv) Ad hoc events to bring music and poetry to new audiences;
for the benefit of all sectors of the community in South East London and elsewhere.
During the course of the year the charity was successfully able to undertake all of the activities set out above in relation to its purposes, as set out in more detail in Achievements and Performance below.
The Trustees have considered the Charity Commission’s guidance on public benefit, including the guidance ‘public benefit: running a charity (PB2)’.
## **Achievements and performance**
Activities in 2025 contained a varied and inspirational range of initiatives aimed at bringing Song to the community in South East London through a carefully designed programme offering cultural enrichment, educational value and professional development: an acclaimed recital series featuring world-class musicians; and a community engagement programme comprising fringe programme, Young Artist Programme, and Schools’ Project.
SongEasel’s 2025 programme was themed _DREAMS: A Place_ , a song series embracing utopian ideals and crosscultural dialogue, and celebrating the much-anticipated marital union of Clara and Robert Schumann 185 years ago. Programming for 2025 was the most ambitious to date, increasing the number of ticketed recitals by 50% from four to six, including our first ever Intensive Weekend, combining the Young Artist Programme activities with three ticketed performances by world class artists across one weekend (our _Schumann Weekend_ ). This year’s recitals included a new venue: St Matthew’s Elephant & Castle, as well as returning venues the Old Library at Dulwich College, St George the Martyr, Borough, and St Laurence, Catford.
3
## **Ticketed Recitals**
## Myrthen
The recital series opened in May with _Myrthen_ featuring acclaimed soprano Francesca Chiejina, SongEasel Artist-in-Residence bass-baritone Stephan Loges, emerging baritone Isaac Tolley, and SongEasel Artistic Director, Jocelyn Freeman. Held in the church of St George the Martyr, Borough, the recital presented Schumann’s romantic cycle _Myrthen,_ written as a wedding gift for his bride-to-be Clara Wieck. The performance also included works by Clara Schumann and Johannes Brahms.
_SongEasel Founder & Artistic Director Jocelyn Freeman, soprano Francesca Chiejina, SongEasel Artist in Residence Stephan Loges, and baritone Isaac Tolley at SongEasel’s opening concert_ Myrthen _(credit: Kate Kantur)_
_“The three vocalists were all superb. A brilliant, moving performance of Schumann’s Myrthen. The accompanist also deserves tribute for a flawless and perfectly balanced performance. Top quality.”_ Audience Member, _Myrthen_
## Dichterliebe
The second recital was _Dichterliebe_ featuring celebrated tenor James Gilchrist and SongEasel Artistic Director Jocelyn Freeman. The recital presented Schumann’s epic _Dichterliebe_ alongside musical settings of lyrical Welsh poet, Dylan Thomas, a wonderful new commission by Isabella Gellis, works by William Mathias and Rhian Samuel, and a selection of idyllic English Song. Before the recital, the performers along with two Welsh actors, Rhys Rusbatch and Chris Jared, and composer Rhian Samuel presented a poetry reading and discussion of some of Dylan Thomas’ life and best loved works.
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**----- Start of picture text -----**
Art song at its best - a
varied and interesting
programme skilfully
performed in an
intimate setting.”
Audience Member,
Dichterliebe
**----- End of picture text -----**
_Jocelyn Freeman and tenor James Gilchrist perform_ Dichterliebe _(credit: Kate Kantur)_
## Schumann Weekend
The Schumann Weekend comprised three recitals by world-class artists, all at St Matthews Church, Elephant & Castle, home to the first bi-lingual parish in the Church of England (English and Spanish).
_“…'Mondnacht' combined magical piano playing with Loges' intimate, confiding vocals giving a sense of time suspended_ .”
Planet Hugill
5
Star German soprano Juliane Banse and renowned Finnish pianist Pauliina Tukiainen provided the heart-felt Schumann Weekend finale.
Their programme combined Spanish songs by Obradors, works by Viardot, selections from Wolf’s _Spanisches Liederbuch,_ and Robert Schumann’s heart-felt _Frauenliebe und -leben_ .
_Pauliina Tukiainen and Juliane Banse perform_ Frauenliebe und Leben _(credit: Kate Kantur)_
## **Free Recitals and Events**
As in previous years SongEasel held three free recitals at St Laurence Church Catford, a parish in an area high in statistics of overall deprivation, to provide access to world-class performances to the local community, particularly those who might not otherwise be able to experience song performance of this quality and beauty.
Our celebrations for the 185th anniversary of Clara and Robert Schumann’s marriage led to a special Listening Club event featuring some of the composers’ best-loved works and providing insight into their lives. Artist-inResidence Stephan Loges joined SongEasel Young Artist Alumna Catherine Hooper, alongside Jocelyn Freeman.
Exceptional young Zambian baritone Themba Mvula performed a personal recital inspired by his identity and journey from Zambia to the UK, which included rarely performed works by Mokale Koapeng and Robert Fokkens, accompanied by Jocelyn Freeman.
Celebrated British soprano of Jamaican-Indian heritage Nadine Benjamin MBE joined us for our 2025 series finale, curating a recital that reflected on her life and journey. Also a renowned coach, she introduced her former mentees, sopranos Hannah MacCauley, Danae Eleni and Danielle Williams along with pianist Nigel Foster for a programme that featured a wide variety of songs and cultural influences.
_Pianist Nigel Foster, sopranos Danielle Kamilah, Danae Eleni, Nadine Benjamin MBE, and Hannah Macauley performing My Journey, a personal recital curated by Nadine Benjamin MBE (credit: Kate Kantur)_
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## **Fringe Performances**
_“SongEasel is doing amazing things for this artform: the future of song is not in Wigmore Hall for most of us and this is making it relevant and taking it to a new audience to create a future for the genre._ ”
Pianist and Arts Leader Keval Shah
SongEasel continued its mission to take classical song to places it doesn’t usually go with performances by former SongEasel Young Artists soprano Emily Beech and pianist Roxanna Shini at regular partner Rocketvan, a café in Elephant and Castle.
Current SongEasel Young Artists mezzo-soprano Samantha Lewis and pianist Beth Haughan also performed two events in this series. One of these performances was at Rocketvan, and the other at the Catford Bridge Tavern following Themba Mvula’s recital Belonging.
## **Young Artist Programme**
SongEasel created spaces for five Young Artist duos from nearly sixty applicants from around the globe. Of the selected young people, three duos were based in the UK, with one duo from Holland and another from Spain. One of the British duos withdrew from the Blackheath Halls platform, creating space for three further duos to benefit from that platform and associated coaching. One of these reserve duos then jumped in for two Fringe performances, bringing the total number of individuals supported this year to sixteen.
The Young Artists took a full part in our inaugural “Intensive Weekend” participating in Masterclasses provided by the world class artists performing in the weekend’s recitals. Feedback from the programme was positive, particularly about being able to watch artists of the highest calibre perform and then learn with them, as well as the peer support provided by being part of a four-day cohort. The Young Artist duos who presented a Community Performance Platform had an immensely positive experience, which they described as “freeing,” “inspiring,” and “so important”. Young Artists provided useful feedback about scheduling and communication, which will help to improve the Young Artist experience in future years. Aligning the YAP with a small festival increased the audience and volunteer base significantly.
_SongEasel Young Artists perform_ Lebendige Lieder _at Blackheath Halls (credit: Kate Kantur)_
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## **Schools’ Project**
SongEasel’s Schools’ Project in 2025 was inspired by the life of Mary, Queen of Scots. Schumann’s Maria Stuart Lieder in English translation by Jeremy Sams were complemented by works by Claudin de Sermisy and Dee Isaacs, and participants’ own works of art in response to our theme. The children learned about Mary, Queen of Scots and her life moving between France and the UK. Youth-voice led workshops devised creative responses in a range of media, including paintings in vivid colours, and poetry using engaging techniques such as rhyming, alliteration and onomatopoeia.
We set out to expand our programme and it grew successfully, reaching 1,656 students at five schools across South East London (Athelney Primary School, The Cathedral School of St Saviour & St Mary Overy, Elfrida Primary School, Childeric Primary School, and Rushey Green Primary School). This was a significant increase from last year’s 1,220 children reached, and an increase from just under 1,000 in 2023, 400 in 2022 and 230 in 2021. The schools involved had pupil premium rates averaging 37.26%, and ranging from 19.2% to 44.8%.
Workshops were led by a total of 11 talented artists including Spanish soprano Lorena Paz Nieto, Irish-Greek soprano Anna Sideris, British-American soprano Shafali Jalota and pianist Jocelyn Freeman, and culminated with a showcase during which children shared the songs they had learnt and their unique creative responses as part of the final performance.
_“Your performance cured my tummy ache.”_ Student in Year 2 at a SongEasel Schools’ Workshop
## **Financial Review**
## Significant Events
SongEasel completed its fourth year of operations with income increasing by just under 10%. As the charity had funds brought forward of over £4,000 a deficit was budgeted to reduce funds carried forward to just under £2,000 prioritising our charitable activities over building a reserve. That enabled us to increase the spend on charitable activities by over 20% and saw the number of children participating in the schools’ programme increase by 35% to 1,656 this year.
## Financial Summary
The charity’s income for the period was £50,119 (2024 - £45,779) made up of donations from Trusts and Foundations of £16,785 – 34% of total income (2024 £21,820 – 48%), private donations augmented by Gift Aid of £16,249 –33% (2024 £10,317 – 22%), donations in kind of £3,800 – 7% (2024 £3,800 – 8%) made up of facilities hire of £800 plus Artistic Director’s and administrative fees waived to support the charity’s activities, and corporate sponsorship of £1,629 – 3% (2024 £3,577 – 8%) giving total donations of £38,463 (2024 £39,514).
The remaining income came from ticket sales plus hospitality of £11,656 – 23% (2024 £6,265 – 14%). This included the auction of a private recital by SongEasel’s Artistic Patron Mark Padmore who generously gave his services free of charge.
8
The shift in the mix of Income reflects the challenging environment that all charities face in competing for grants from Trusts and Foundations with that source of income down as a percentage and in absolute terms, and the success that SongEasel had in 2025 in growing other areas. The charity is particularly grateful to its private supporters whose contributions increased in 2025 to offset the reduction in grants. The other main increase was in the innovation of a private recital auction which enabled the increased in earned income.
The charity’s largest area of expenditure was for Artistic and Creative costs at £19,768 – 38% of total expenditure (2024 £19,553 – 45%) primarily made up of musicians’ fees for ticketed and free recitals, plus some pre-recital talks and recital programmes. Venue Hire and Stewarding represented a further £2,160 – 4% of costs (2024 £1,800 – 4%), much of it through donations in kind in the form of hall hire fees waived.
Outreach and educational expenditure in the form of Schools and Young Artists programmes made up the second largest outgoing for the year at £15,861 – 30% (2024 £7,506 – 18%) while support costs were largely in line with the previous year at £11,633 – 22% (2024 £10,520 – 24%). In 2024 SongEasel invested in additional administrative support to support the charity’s growth and it is satisfying to see that in 2025 those costs have remained stable but have enabled considerable growth in the funds devoted to outreach.
The remaining expenditure was for Fundraising which accounted for £3,100 – 6% of total expenditure (2024 £3,077 – 7%), representing an allocation of 20% of website costs, the cost of preparing submissions to Trusts and Foundations and administering private donations. Donations in Kind of fundraising effort of £2,000 from SongEasel’s Artistic Director made up the majority of this cost.
SongEasel started 2025 with charitable funds broughtcarried forward of £4,247 and the budget foresaw a deficit in order to reduce reserves and devote the funds to charitable activities. The result for the year was slightly favourable compared to budget with a deficit of £2,403 for 2025 (2024 £2,229 surplus).
## Reserves
At the end of the financial year cash and bank balances stood at £4,833 (2024 £4,701), and net reserves totalled £1,844 (2024 £4,247). As a relatively new charity with limited funds SongEasel does not have the capacity to hold a material reserve and the figure of £1,844 is a balance between providing some financial resilience for the future and ensuring that funds are mainly directed towards our charitable activities.
## Trustee Benefits
No Trustee was paid for carrying out their role as a Trustee, claimed expenses or was employed by the charity. One Trustee received fees for specialist services provided to the charity as Artistic Director and for performances in some of the charity’s recitals. There were no other related party transactions.
Details of the services and fees are disclosed in Note 8 to the Accounts.
## **Structure, Governance and Management**
## Governing document
The charity is constituted as a Charitable Incorporated Organisation and governed by its Constitution.
## Recruitment and Appointment of Trustees
9
Trustees are chosen on the basis of merit and their ability to contribute to the charity in terms of skills, knowledge and experience. All Trustees are provided on appointment with the charity’s governing document, the relevant guidance from the Charity Commission and the latest Annual Report and Accounts and are given informal personal guidance by an existing Trustee.
## **Reference and Administrative Information**
**Name of Charity** SongEasel **Charity Registration number** 1197751 **Date of Registration** 1 February 2022 **Principal Address** The Rectory Meadow Row London SE1 6RG **Trustees**
The Trustees who have served during the year and since the establishment as a charity were as follows:
Jocelyn Freeman Matthew Gasser Clare Glover The Rev'd Canon Charles Faulkner Pickstone Jeremy Young
Approved by the Board of Trustees and signed on their behalf by:
The Rev'd Canon Charles Faulkner Pickstone Chair
10
oriGEASEL
Independent eine8 report to the trustees of SongEasel
I report to the tn]stees on my examination of the accoullts of the SongEasel Th]st (the TnJst)
for the year ended 31 October 2025.
ResponsibilAties and basis of report
As the Charity tSteeS of the Trust yoii are rcsponsible foT the preparation of the accounts in
acLordance with the requirementb of the L'harities Aet 2011 ('the AL,t').
I report in respect of my exarninatiou of the T.$ accounts carried out uttder section 145 ofthe 2011
Act and in carrying out my cxamination I have followed all the applicable Directions given by the
Charity Commission under section 145ts)(b) ofthe Act.
Independent examiner's statement
I have completed rny examinAtion. I confirni that no mateTiAI TnatteTS hBve (x)me to my attention in
¢onneetion with tbe examination giwig me cause to believe that in any material respect:
accowTrting records were not kept in respect of the Trust as required by section 130 of the Act.
or
the accounts do not accord with those records. or
3. the accounts do not comply with the applicable requirements concerning the form and
eontent of accounts sct out in thc Charitics (Aecounts and Reports) Rcgulations 2008 other
than aiiy requirement that the accounts give a'true and fair view which i8 not a matter
considered as part of an independent exan]ination.
I have no concern8 and have come aero&s no other matters in eonneetion with the examination to
which attention shou]d be drawn in this report in order to enable a proper undeLEtanding of the
accounts to be reached.
Slgned:
Name: Rory Youn¥
Relevant professional qualification or membership of professiona] bodies (if
any): Chartered Accountants of New Zealand and Australia, membership number: 3022930
Addrc5s: 62 BalLara AVE, C4rsL,Idine, 4034 AUSTRALIA
Date: 13 August 2026
li
## **SongEasel**
## **Statement of Financial Activities**
## **For the year to 31 October 2025**
|**Note**
**Income:**
Donations
2
Charitable Activities
3
**Total Income**
**Expenditure:**
Charitable Activities
4
Raising Funds
5
**Total Expenditure**
**Net Income / (Expenditure)**
**Reconciliation of Funds**
Total Funds brought forward
Total Funds carried forward|**Unrestricted**
**Funds**
**Restricted**
**Funds**
**Total**
**2025**
**Total**
**2024**
**£**
**£**
**£**
**£**
24,663
13,800
38,463
39,514
11,656
-
11,656
6,265
**36,319**
**13,800**
**50,119**
**45,779**
37,622
11,800
49,422
40,473
1,100
2,000
3,100
3,077
**38,722**
**13,800**
**52,522**
**43,550**
**- 2,403-- 2,403**
**2,229**
4,247
-
4,247
2,018
**1,844- 1,844**
**4,247**|
|---|---|
12
## **SongEasel Statement of Financial Position As at 31 October 2025**
|**Note**
**Current Assets**
Cash at Bank and in hand
Debtors
9
**Creditors: amounts falling due within one year**
10
**Net Current Assets**
**Total Assets less current liabilities**
**Charity Funds**
Restricted Funds
11
Unrestricted Funds
11
**Total Charity Funds**|**2025**
**2024**
**£**
**£**
4,833
4,701
1,524
2,609
6,357
7,310
4,513
3,063
1,844
4,247
**1,844**
**4,247**
-
-
1,844
4,247
**1,844**
**4,247**|
|---|---|
13
## **SongEasel Notes to the Financial Statements For the year to 31 October 2025**
## **Notes**
- 1 **Accounting Policies**
## **Basis of Accounting**
The Charity constitues a public benefit entity under FRS 102. The financial statements have been prepared in accordance with the Charities SORP (October 2019), the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102), and the Charities Act 2011. Assets and liabilities are initially recognised at historical cost or transaction value unless otherwise stated in the relevant accounting policy note(s).
## **Going Concern**
The financial statements are prepared, on a going concern basis, under the historical cost convention.
## **Fund Descriptions**
## a) Unrestricted Funds
Unrestricted Funds are available for use at the discretion of the Trustees in furtherance of the objects of the Charity and which have not been designated for other purposes.
## b) Restricted Funds
Restricted Funds are funds which are to be used in accordance with specific restrictions set out by the donors or which have been raised by the Charity for particular purposes.
## **Income Recognition**
Income is included in the statement of financial activities when the Charity is entitled to the income and the amount can be quantified with reasonable accuracy.
## **Donated Goods, Services and Facilities**
Donated goods and services are disclosed as restricted donations with corresponding expenditure, and are valued at the amount that the charity would pay in the open market.
## **Expenditure Recognition**
All expenditure is accounted for on an accruals basis and is classified under headings that aggregate all costs related to the category. Expenditure is recognised when there is a legal or constructive obligation committing the Charity to the expenditure, it is probable that the settlement will be required and the amount of the obligation can be measured reliably.
|**2**
**Income from Donations**
Private Donations
Gift Aid Recoverable
Trusts and Foundations
Corporate Sponsorship
Support in Kind|**Unrestricted**
**Funds**
**Restricted**
**Funds**
**Total**
**2025**
**Total**
**2024**
**£**
**£**
**£**
**£**
13,043
-
13,043
8,295
3,206
-
3,206
2,022
6,785
10,000
16,785
21,820
1,629
-
1,629
3,577
-
3,800
3,800
3,800
**24,663**
**13,800**
**38,463**
**39,514**|
|---|---|
14
|**3**
**Income from Charitable Activities**
Ticket Income for events
**4**
**Costs of Charitable Activities**
Artistic and Creative Costs
Venue Hire and Stewarding
Schools Projects
Young Artists Projects
Cost of sales
Support
**5**
**Costs of Fundraising**
Website and media
Trust Applications and Supporter administration
**6**
**Analysis of support costs**
Website and other media
Marketing
Fundraising
Administrative Support
**7**
**Particulars of Employees**
Number of employees|**Unrestricted**
**Funds**
**Restricted**
**Funds**
**£**
**£**|**Total**
**2025**
**Total**
**2024**
**£**
**£**
**11,656**
**6,265**
**Total**
**2025**
**Total**
**2024**
**£**
**£**
19,768
19,553
2,160
1,800
10,033
5,086
5,828
2,420
100
1,094
11,533
10,520
**49,422**
**40,473**
**Total**
**2025**
**Total**
**2024**
**£**
**£**
936
424
2,164
2,653
**3,100**
**3,077**
**Total**
**2025**
**Total**
**2024**
**£**
**£**
2,116
1,695
1,629
1,252
3,100
3,077
7,788
7,573
**14,633**
**13,597**
**2025**
**2024**
0
0|
|---|---|---|
||**11,656 -**||
||**Unrestricted**
**Funds**
**Restricted**
**Funds**
**£**
**£**
18,418 1,350
1,360 800
4,359 5,674
2,572 3,256
100 -
10,813 720||
||**37,622 11,800**||
||**Unrestricted**
**Funds**
**Restricted**
**Funds**
**£**
**£**
936 -
164 2,000||
||**1,100**
**2,000**||
||**Unrestricted**
**Funds**
**Restricted**
**Funds**
**£**
**£**
2,116
-
1,629
-
1,100
2,000
7,068
720||
||**11,913**
**2,720**||
||||
15
## **8 Trustee Benefits**
No Trustee was paid for carrying out their role as a Trustee or received expenses.
One Trustee, Jocelyn Freeman, received fees for services provided to the Charity as follows:
|Performance in recitals
Preparation and delivery of Schools Projects
Preparation and delivery of Young Artists Programme
Programme Management and Artistic Design|**2025**
**2024**
**£**
**£**
3,050
2,650
4,346
1,390
3,690
595
2,267
4,765
13,353
9,400|
|---|---|
In addition Jocelyn Freeman provided services as donations in kind to the value of £3,000 (2024 £3,000), as well as carrying out her role as a Trustee. The Support in Kind was primarily in the areas of fundraising, and support for Schools Projects and Young Artists.
The Trustees have fully disclosed the circumstances of the services and Trustee benefits to the Charity Commission and are satisfied that they comply with the standard constitution of a Charitable Incorporated Oorganisation, with Charity Commission guidance and with Section 185 to 188 of the Charities Act 2011.
The work of the charity requires a high degree of skill in curating, organising and managing the projects, and performing the works involved. Jocelyn Freeman is a concert standard pianist and curator of music with considerable experience and has organised similar activities promoting song for the benefit of the community for several years. The Trustees believe that Jocelyn’s intimate knowledge of the specific requirements of the charity and it's working environment, her competence in this specialist field, and her willingness to carry out the services for less or no more than the market rate mean that using her services in such circumstances is in the best interest of the Charity and supports delivery of the charity’s object.
Fees do not exceed what is reasonable for the services provided; are measured by market comparison; the Trustee to benefit is absented from the Board discussion and vote; no other Trustee receives any benefits; remuneration for the services from the Trustee is approved only when it is in the best interests of the charity and in support of the charity’s object.
|**9**
**Debtors**
**Amounts due within one year:**
Prepayments and Accrued Income
**10 Creditors**
**Amounts due within one year:**
Accruals|**2025**
**2024**
**£**
**£**
1,524
2,609
**2025**
**2024**
**£**
**£**
4,513
3,063|
|---|---|
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|**11 Fund Reconciliation**
**Unrestricted**
**Restricted**|**Brought**
**Forward**
**Incoming**
**Resources**
**Outgoing**
**Resources**
**Carried**
**Forward**
**Carried**
**Forward**
**£**
**£**
**£**
**£**
**£**
4,247
36,319 - 38,722
1,844
4,247
-
10,000-10,000
-
-
4,247 46,319-48,722 1,844
4,247|
|---|---|
Funds carried forward represent the 2024 funds brought forward of £4,247 less the deficit for the year of £2,403.
17