The Annual Report
of the
Chesterfield Philharmonic Choir
1st August 2010 to 31st July 2011
---
REFERENCE AND ADMINISTRATIVE
INFORMATION
Charity name: The Chesterfield Philharmonic Choir.
Registered charity number: 500561.
Charity’s principal address
Woodland Villas, 48 Queen Victoria Road, Sheffield, S17 4HT Trustees
The trustees listed below have all served in office from the Annual General Meeting in October 2010 until the date of this report.
The management committee comprises the following members:
Chairman P.Jones Secretary A. Walker Treasurer M. Jarvis Musical Director S. Roberts Choir Representative K. Law Member M. Cámara Member S. Kleinsman Member L. Mitchell Member L. Oliver Member R. Parnham Member C.Patrick Member M. Penny Independent Examiner
Ms. Deborah Lord, 34 Pennine Way, Loundsley Green, Chesterfield, S40 4ND Bankers
CafCash Limited, Kings Hill, West Malling, Kent ME19 4TA
Governing Document
The charity is regulated by the Order of 9th July 2002 made by the Charity Commission and the Constitution and Rules adopted on 11th July 2002, as amended on 7 October 2004.
Management of the Charity
The management committee is the governing body of the Chesterfield Philharmonic Choir (“the Society”) and consists of all the appointed trustees of the Charity. Under the rules the trustees must number at least six and no more than twelve. All trustees, with the exception of the Musical Director, put themselves up for re-election each year at the Annual General Meeting. At the Annual General Meeting on 21 October 2010 our Chairman Rachel Swann stood down as she had completed the maximum term allowed under the Constitution. She was replaced as Chairman by Peter Jones who was elected unopposed. Chloe Patrick was elected to be a trustee and all other existing trustees stood for re-election and were elected unopposed.
Four full committee meetings were held between September 2010 and July 2011. Attendance at these meetings was as follows: R. Swann 1/1; P. Jones 4/4; A. Walker 4/4; M. Jarvis 4/4: S. Roberts 2/4; M. Cámara 4/4; S. Kleinsman 3/4; K. Law 2/4; L Mitchell 2/4; L. Oliver 4/4; B. Parnham 4/4; C. Patrick 3/3; M. Penny 3/4. Further informal meetings were held during rehearsals to deal with routine business as necessary.
The committee reviewed financial matters at each full committee meeting. The Treasurer presented a financial forecast for the remainder of the year to the Trustees at each of those meetings and its implications were considered and discussed. Budget forecasts are made on a conservative estimate of likely tickets sales and costs to ensure financial viability. The committee have agreed and implemented a reserves policy which is used to determine expenditure plans throughout the year, taking into account cash flow around concert events.
The accounts are presented annually to the membership for discussion and approval at the Annual General meeting, following independent inspection.
Risk Management – Risks are overseen by a sub committee. In 2011 members were A Walker (Chair), S. Roberts, M. Jarvis, L Oliver, L. Mitchell, B. Parnham and S. Robinson.
The sub-committee met once and reassessed all the risks following actions to mitigate them and in the light of incidents that had occurred. One area where specific problems had occurred involved the ill health of our accompanist/deputy Musical Director and the need to find a suitable substitute at short notice should a similar situation arise again. The sub-committee made several recommendations to the management committee on this issue and others; which were accepted and a number of risks were reclassified – six to a lower and four to a higher risk rating. At the end of the year 31 risks were being managed and of these thirteen were considered to have the potential to have a major impact on the charity’s activities, although eight of these had only a low probability of occurring. Ten of the risks have both a low chance of happening and a potentially low impact: these are risks that the trustees need only to keep a watching eye on and represents an improvement over previous years. However, this has to be set against four high impact risks, all associated with the issues around our accompanist, which are considered now to have a high probability of occurring and this is an area of major concern for the trustees. Firm, but proportionate management of the risks has ensured that the trustees are able to effectively prioritise their attention on those areas that can have a real impact on delivering our objectives and allowed us to make a considered response to each incident as it has occurred.
Objects of the Charity
The objects of the Society, as set out in the Rules, shall be to “promote, improve, develop and maintain public education in and appreciation of the art and science of choral music in all its aspects by the presentation of public concerts and recitals.”
Activities of the Charity
In considering and agreeing the activities of the Charity, the trustees have considered the Charity Commission’s guidance on public benefit.
The Society usually delivers four concerts and a choral workshop each year in the Chesterfield area. On occasion further concerts are performed, both locally and elsewhere when we are invited by others to combine with or support them. Concert programmes are developed by the Musical Director to engage with the audience and to develop and educate them through the choice and combination of works undertaken.
Preparation for concerts is undertaken through regular weekly rehearsals between September and the beginning of July. On occasion the Society organises trips to musical events and social activities for its members. Rehearsals and concert programmes are also shaped to provide singing members with opportunities to improve their singing skills and their understanding and appreciation of choral music in all its forms.
Strategic Objectives
The Committee has adopted three strategic objectives to
act as the focus for our activities. These are:
1. Musical – we aim to deliver a consistently high
standard of musical performance, learning and experiencing new and traditional
repertoire, especially in challenging ways.
2. Membership and internal access – we try to offer
a positive, creative, supportive and friendly environment and encourage
social interaction within the choir. We promote membership of the choir
to a diverse group of people with the view of achieving sufficient membership
numbers to perform a variety of repertoire.
3. Audience and external access – we strive to
be a high-profile ensemble, providing positive access to the choir to
a diverse group, and to widen participation within the community, whilst
performing educational and enjoyable music and developing a larger audience
base.
Progress against these and details of our activities are set out in the following pages.
Chairman’s Statement
 |
I was elected to the Chair of the Chesterfield Philharmonic
Choir (which I shall call the Society) in October 2010. This report
is addressed to the Charity Commission as well as to the members of
the Society. It is made on behalf of the trustees of the Society.
Its purpose is to set out how the activities of the Society over the
last year met the objectives of its constitution and the requirements
to maintain the Society’s charitable status. The trustees are very conscious of the Society’s privileged position as a charity, and in each of the committee meetings and at the AGM consideration is given to the fulfilment of the Objects (as set out in our constitution) and Strategic Objectives. Our principal charitable purpose of course is the advancement of the arts, culture and heritage – specifically the art and science of choral music. All our activities over our 44th season 2010-11 have been directed to that purpose. |
Choral singing is a significant part of our heritage. Furthermore it is not just a fossilised part, but a living and developing part of our shared heritage. The identifiable benefit is that the activities of our Society nurture, maintain and promote choral singing as an enriching part of our cultural nexus. Accordingly our programme for the 44th season (detailed below) included works from the classic choral canon, and contemporary choral work. The choral day continues to be an important part of our activities.
To provide this public benefit involves expense: to train and educate the singing members of the Society: and then to present to the wider public. Our income comes from membership fees and ticket sales as is set out in the financial report. To achieve this charitable purpose we seek to maintain and increase the choir membership and the audience numbers. It is a self reinforcing cycle: more membership results in more ticket sales, greater ticket sales fund more ambitious projects and that encourages greater membership. Such a cycle of course works in both directions.
The public to which the benefit extends includes both the
members of the Society, singing and non-singing, and the wider public.
Of necessity there are restrictions on the singing membership: membership
is open only after audition. It would not otherwise be possible to maintain
standards. However we also encourage involvement by non-singing members
who have roles for example in front-of-house and publicity. The members
of the Society mainly come from Derbyshire and South Yorkshire but there
is no geographical restriction imposed other than the requirement to attend
rehearsals. There is no restriction on numbers: indeed we actively seek
new members. Our rehearsal venue, in a school for disabled children, presents
no access difficulties, and provision is made at concerts for those with
restricted physical mobility.
We have an annual subscription for singing members. We have reduced fees for retired members. Membership for students and the unemployed is free. Provision is made for reduced membership fees where financial circumstances would otherwise make membership difficult. Over half the singing members benefit from a concessionary membership fee. Over the year the membership fee has been inclusive with no “extras” such as music hire. The only additional requirement is the need to have uniform dress for the concerts. This is an important part of a quality presentation to the wider public, and therefore part of the furtherance of our aims.
There is no fee for non-singing membership.
We are proud to maintain an Equality Policy, and Safeguarding Children plan, to encourage open access within the above parameters.
The wider public includes all those who attend our concerts
and choral day. We actively market and promote our concerts, principally
in the catchment area of those within reasonable travelling distance.
The Society produces a “postcard” leaflet at the beginning
of the season that summarises the concerts for the forthcoming season,
as well as the choral day. Each concert has leaflets and posters which
have been of a consistently high standard. Additionally the Society has
a well developed and constantly maintained website and is developing a
presence on social networking sites Facebook and Twitter to further promote
its activities to potential audience members.
We continue to offer ticket prices that are competitive and make allowance
for those with limited means with concessions. 65% of the tickets in the
44th season were sold at concessionary prices. We have also maintained
family tickets to encourage children to come to our concerts.As well as
audience our concerts involve musicians and soloists who play and sing
with us. They benefit by having an outlet for and the opportunity to develop
their skills. They have repeatedly remarked how worthwhile the experience
has been for them
Whilst it is not part of our constitution, nor mentioned in our objectives
it has been pointed out by both members of the Society and audience members
that there is a further public benefit that the Society brings: the advancement
of health. When canvassed, members overwhelmingly responded that they
considered there was a direct benefit to physical and mental health. The
regular commitment and weekly rehearsals require both physical and mental
effort. The Society provides a social meeting place, and a requirement
to be part of a team. The result is a feeling of inclusion, involvement
and increased self esteem that may be difficult to measure, but reported
by members to be extremely valuable. This extends also to the audience
who come to our concerts, particularly as the performance standard of
the concerts is consistently high.
The Charity Commission require that we must balance the benefit against any detriment or harm that might arise from our organisation carrying out our aims. The trustees have not been able to identify any detriment or harm.To fulfil our charitable purposes there has to be a balance of the Reithian principals of to educate, inform and entertain. Without an element of entertainment the audience, our wider public, will not come and will not benefit. The trustees seek actively to not only maintain but to develop audience numbers. When I took the Chair in October 2010 the programme for the 44th season had already been established, and the publicity ordered. I believe that the programme presented an excellent balance of classic and contemporary, light and serious. The precise details were revised during the year in the light of financial constraints.
44th Season Activities
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The Patterson had been so successful in the concert in March 2010 that we were totally justified in performing excerpts again, particularly as we were joined by the composer himself who took an ovation from the audience in the Chesterfield Parish Church. We advertised an open rehearsal, and a number of visitors dropped in to listen during the afternoon. Some were converted to paying customers as they returned for the evening concert! We considered this concert was an excellent opportunity to raise our profile, and to confirm to our public the value and relevance of contemporary choral work. We value our links with local government, who, by their support, confirm that they consider we provide a public benefit to the ratepayers of Chesterfield and Derbyshire. |
 |
Shortly before Christmas we accepted a “booking” by the management of Cresswell Crags Visitor’s Centre to sing carols at their pre-Christmas open day. This was very enjoyable for all those who took part, and those who watched. We proved ourselves able to put together a small but balanced choir and to entertain from our repertoire. We were directed by Joan Smith and accompanied by Dan Humphries. This took our choir to a new potential audience, and enabled us to publicise our forthcoming programme. At the end of the day the management booked us to return in 2011! |
 |
During the year we faced a challenge with the absence due to illness of our extremely valued accompanist and deputy musical director Philip Hanwell. We made enquiries and before Christmas engaged a talented young man, Daniel Humphries who was taking a year from his studies at Cambridge. His confidence and ability grew over the time he was with us, before he left to return to his studies. We would like to think that in return for the valuable help he gave us he took that extra confidence with him. |
| Our musical director Steven Roberts also found that he had competing professional commitments during the year that he was not always able to reconcile in our favour. The combination of the two issues gave the committee much food for thought and discussion as to the reliance on key members of the Society. This element of Risk Management was resolved for this season but is an ongoing issue for consideration. | |
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On Sunday 19th December 2010: we presented “Carols with the Phil” with special guests Derby Concert Band. We consider it important that there should be links with other musical organisations, and this concert will be reciprocated in November 2011 when we will be their guests in Derby. Audience numbers were undoubtedly affected by the adverse weather but as ever joined in the singing with gusto and enjoyed the banter between the respective musical directors Steven Roberts and Simon Willis. Because of the relatively low turn-out ticket receipts were low, but revenue was to some extent made up by an excellent response to the raffle.
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On Saturday 2nd April 2011 at the Central Methodist Church we performed Rossini’s Petite Messe Solennelle. Jonathan Scott, rapidly becoming a favourite of ours, returned this time to play the harmonium, with his brother Tom Scott on piano. In addition to the Rossini we were treated to an exhibition duet by the brothers, consisting of Fantasia e Fuga by Saint- Saëns and Méditation – Ave Maria by Gounod, the latter arranged by Jonathan Scott. The programme also included Jonathan giving an address and explanation of the history of the harmonium. |
| On Saturday 11th June 2011 we held our 14th annual Choral
Day. A poll had been taken at the 2010 choral day as to what participants would like to sing. Based on the responses the committee decided on Handel’s Messiah. Whilst this is hardly an obscure work, it was felt that it could be more approachable for members of the public, and widen access to public participation. Furthermore, as we would also be rehearsing and singing with an orchestra, that would give an opportunity to members of other choirs who might not have those resources. That proved to be the case, with around 120 singers taking part drawn from a very wide geographical area, and a number who were new to, or considering returning to choral singing. The day finished with a concert for the wider public, entrance free. In a new initiative this year we worked in partnership with a local Charity, Ashgate Hospice. As well as collecting over £250 from donations made by the audience in the evening, one tenth of each Choral Day participant’s fee was also donated to the Hospice raising a further £230. The Choral Day has become an important part of our annual activities. As well as being a significant contributor to our funds it also significantly meets the fulfilment of our charitable objects. |
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On Saturday 9th July 2011 we presented My Fair Lady at the Winding Wheel. This was something of a departure for the choir, and considered by a number of choir members to be outside their repertoire. That was very disappointing for the committee. The programme had been discussed by the committee and decided on for a number of reasons. Principal of those was that such a well known and loved piece would be an entry point for potential new audience members, who too often consider choral music “difficult”. Unfortunately some choir members were not wholeheartedly behind the project and the size of the choir and therefore the size of the audience suffered. This meant that some of the opportunity to increase audience and receipts was missed. I feel strongly that membership of our choir involves a commitment to the whole programme, and that it should be marked that it is not appropriate for members to pick and choose. |
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Due to low ticket sales earlier in the season the programme was adapted to meet a tight budget. Instead of a band we had two grand pianos. We were delighted that Philip Hanwell was fit to return, and he was joined by Ed Barnwell: who between them converted the piano score into a racing duet! We were to have professional soloists, but drew them from the choir instead. It is difficult for me to be entirely objective about the whole performance: as I was asked to take the part of Professor Higgins; but in my opinion my fellow soloists were absolutely excellent and the audience could not have asked for a better show. “When are you going to sing again?” I was asked by a young boy. So the concert did advance our charitable purposes after all! |
| I have mentioned some names in this report, but have in no way covered all those who have contributed to a successful 44th season and the continuance of the Chesterfield Philharmonic Choir. I would like to thank the trustees, the committee members; and all the others, whether singing members or non singing, and hope that this season will be found to provide a basis for the future success of the Society as previous seasons did for this. | |
Reserves Policy
Following the review of our Reserve policy which was carried out in 2008-09,
the Trustees have continued to manage the charity’s finances and
plan expenditure within the framework that provides. The policy seeks:
-
to ensure financial continuity in the event of a large variation in income
-
to maintain a positive cash flow, particularly before concerts
-
to cover specific future projects as they are agreed.
The policy sets a minimum reserve level of £3000 at the end of the financial year. This may be adjusted higher if an expensive concert is planned early in the following season. Prior to any concert or major expense the reserve level should be sufficient to cover the costs of the concert or activity without income from ticket sales. Initial budget forecasts for the year were used to plan concert expenditure and the impact of actual income and expenditure for each concert on forecasts was considered at each committee meeting. This allowed additional expenditure to be agreed for later concerts when it was clear that there were sufficient funds available, within the limits of the policy.
Financial Performance
Over this last year we have made a small loss of almost £300, including
around £800 represented by depreciation of our one major fixed asset,
modular staging. Our final balance shows us with assets of £16,503
of which £9,719 are cash assets and £6,784 are fixed assets.
The latter representing the residual value of the staging purchased four
years ago.
Financial performance over the year is slightly better than the previous year, which in view of the worsening economic climate, is heartening. The final position was also better than the forecast made in last year’s annual report, which estimated that we might end the year £2000 worse off. However, this was achieved only through the result of hard work managing the charity’s finances and taking some difficult decisions in year to reduce expenditure. We were hit particularly hard by the bad weather at Christmas, which almost halved our usual concert attendance and the resultant income from tickets was reduced by £600. A sterling effort on the raffle meant that we still took over £300, a fantastic amount in the circumstances and surpassed only by the raffle at our other concert in the Winding Wheel in July, where we raised £315. Thanks must go to Gwen Hallam, Ann Tagg and all the others who helped organise both these and donated gifts to the hampers. More generally the monthly raffle at rehearsals has gone from strength to strength, to which we owe thanks to Judy Dawson who has taken on this activity with great enthusiasm, when supported by other fund raising, such as Stuart Robinson’s jam making and the book stall, ably managed by Lynda Mitchell. All these make a valuable contribution to our income.
The £300 grant from Derbyshire County Council Leadership Fund and payment of the venue hire costs for the concert supporting the Chesterfield Arts and Markets Festival was a welcome contribution this year as last.
The Musical Director’s fees have increased in line with plans. For the calendar year commencing January 2011 fees of £3,840 will be paid for all rehearsals, concerts and workshops undertaken.
The cost of concerts continues to rise faster than the income which we can generate through tickets sales and this year, like last, we spent £3000 more than we received. A better result for the Choral Day and the Summer concert was cancelled out by the low ticket sales at Christmas and disappointing sales for the Autumn and Spring concerts. The earlier poor turnout for concerts meant that in order to reduce costs the Musical Director agreed to use in house soloists for the Summer concert, saving around £1800.
Overall our annual total of ticket sales was the lowest seen for many years, as can be seen from the figure, with the maximum attendance at any concert being 140. This is the first time in the last fifteen years that we have not achieved an audience of over 200 in at least one concert. In part due to weather, but also due to the recession this is a disappointing trend and one we have done much to try to reverse with little success.
Looking ahead, with the continuing recession likely to impact further on ticket sales, the impact of new HMRC guidance on claiming gift aid, which will reduce our reclaimed tax income, the VAT increase to 20% and rising inflation putting pressure on our costs we will need to keep a tight grip on our expenditure and continue to look for other ways to increase our income. We do not want to reduce the amount we spend on professional musicians and soloists, but without generating more income it is unlikely that we will be able to maintain the levels of previous years.
In the next year our first concert will be as the guests of the Derby Concert Band, and so we will be able to focus our spending on the other three concerts. In the spring of 2012 we will work with a full orchestra and soloists for the first time for 2 years, and in the summer we hope to repeat the success of this year’s summer concert with the addition of professional soloists and musicians in support.
In summary our financial position looks healthy, but we
will need to work hard and continue to react flexibly to in year pressures
to maintain that position and provide access to professional musicians
and performance of the highest quality as we have sought to do in the
past.
Signed by Peter Jones
Chairman
20 October 2011
For and on behalf of the Trustees of the Chesterfield Philharmonic Choir.
to the Trustees of
Chesterfield Philharmonic Choir
I report on the accounts for the year ended 31 July 2011, which are set out on pages 12 to 17.
Respective responsibilities of trustees and examiner
The charity’s Trustees are responsible for the preparation
of the accounts. The charity’s Trustees consider that an audit is
not required for this year (under section 43(2) of the Charities Act 1993
(the Act) and that an independent examination is needed.
It is my responsibility to:
• examine the accounts (under section 43 of the Act);
• to follow the procedures laid down in the General Directions given
by the Charity Commissioners (under section 43(7)(b) of the Act); and
• to state whether particular matters have come to my attention.
Basis of independent examiner’s report
My examination was carried out in accordance with the General
Directions given by the Charity Commissioners. An examination includes
a review of the accounting records kept by the charity and a comparison
of the accounts presented with those records. It also includes consideration
of any unusual items or disclosures in the accounts, and seeking explanations
from the Trustees concerning any such matters. The procedures undertaken
do not provide all the evidence that would be required in an audit, and
consequently I do not express an audit opinion on the view given by the
accounts.
Independent examiner’s statement
In the course of my examination, no matter has come to my attention:
(1) which gives me reasonable cause to believe that, in any material respect,
the Trustees have not met the requirements to ensure that:
• proper accounting records are kept (in accordance with section
41 of the Act); and
• accounts are prepared which agree with the accounting records
and comply with the accounting requirements of the Act; or
(2) to which, in my opinion, attention should be drawn in order to enable proper understanding of the accounts to be reached.
Signed by Miss D Lord
34 Pennine Way
Loundsley Green
Chesterfield
Derbyshire
S40 4ND
27 October 2011
STATEMENT OF FINANCIAL ACTIVITIES
for the year ended 31 July 2011
2011 |
2010 |
|||||||
Notes |
£ |
£ |
£ |
£ |
||||
| Fixed assets | 2 , 7 |
6,784 |
7,753 |
|||||
======= |
======= |
|||||||
| Current assets | ||||||||
| Cash at bank and in hand | 9,719 |
9,048 |
||||||
| Prepayments | 9 |
0 |
0 |
|||||
9,719 |
9,048 |
|||||||
| Net Current Assets | 9,719 |
9,048 |
||||||
======= |
======= |
|||||||
| Creditors: amounts falling due within one year | 0 |
0 |
||||||
| Total assets less current liabilities | 16,503 |
16,801 |
||||||
======= |
======= |
|||||||
| Creditors: amounts falling due after one year | 0 |
0 |
||||||
| Provisions for liabilities and charges | 0 |
0 |
||||||
| Net assets | 16,503 |
16,801 |
||||||
======= |
======= |
|||||||
| Funds of the Charity | ||||||||
| Restricted Funds | 4 |
0 |
0 |
|||||
| Endowment Funds | 5 |
0 |
0 |
|||||
| Unrestricted Funds | ||||||||
| Accumulated fund | 11 |
16,503 |
16,801 |
|||||
| Total charity funds | 16,503 |
16,801 |
||||||
======= |
======= |
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|
Approved by the management committee of
Chesterfield Philharmonic Choir
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| on 27 September 2011and
signed on its behalf by |
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NOTES ON THE FINANCIAL STATEMENTS
for the year ended 31 July 2009
1 |
Basis of preparation |
1.1 |
Basis of accounting These accounts have been prepared on the basis of historic cost (except that investments are shown at market value) in accordance with: * Accounting and Reporting by Charities - Statement of Recommended Practice (SORP 2005); * and with Accounting Standards; * and with the Charities Act 1993. |
1.2 |
Change in basis of accounting There has been no change to the accounting policies (valuation and methods of accounting) since last year. |
1.3 |
Change to previous accounts There has been no change to accounts for previous years. |
| Accounting Policies | |
| INCOMING RESOURCES | |
| Recognition of Incoming Resources These are included in the Statement of Financial Activities (SOFA) when: * the charity becomes entitled to the resources * the trustees are virtually certain they will receive the resources; and * the monetary value can be measured with sufficient reliability |
|
| Incoming resources with related expenditure Where incoming resources have related expenditure (as with fundraising or contract income) the incomng resources and related expenditure are reported gross in the SoFA. |
|
| Grants and Donations Grants and donations are only included in the SoFA when the charity has unconditional entitlement to the resources. |
|
| Tax reclaims on donations and gifts Incoming resources from tax reclaims are included in the SoFA at the same time as the gift to which they relate |
|
| Gifts in Kind Gifts in kind are accounted for at a reasonable estimate of their value to the charity or the amount actually realised. Gifts in kind for sale or distribution are included in the accounts as gifts only when sold or distributed by the charity. Gifts in kind for use by the charity are included in the SoFA as incoming resources when receivable. |
|
| Donated services and facilities These are only included in incoming resources (with an equivalent amount in resources expended) where the benefit to the charity is reasonably quantifiable, measurable and material. The value placed on these resources is the estimated value to the charity of the service or facility received. |
|
| Investment Income This is included in the accounts when receivable. |
|
| EXPENDITURE AND LIABILITIES | |
| Resources expended are included in the Statement of Financial Activities on an accruals basis, inclusive of any VAT, which cannot be recovered. | |
| ASSETS | |
| Tangible fixed assets for use by the charity These are capitalised if they can be used for more than one year, and cost at least £500. They are valued at cost or, if gifted, at the value to the charity on receipt. Depreciation is assessed on a straight line basis over the lifetime of the asset. |
|
| Stocks Stocks are valued at the lower of cost and market value. |
INCOME AND EXPENDITURE ACCOUNT
for the year ended 31 July 2011
| 2011 |
2010 |
|||||
£ |
£ |
|||||
| Incoming Resources | ||||||
| 1 | Members' subscriptions |
7,311 |
7,061 |
|||
| 2 | Friends' subscriptions |
330 |
200 |
|||
| 3 | Grants and awards |
300 |
2,250 |
|||
| 4 | Bank Interest Received |
20 |
18 |
|||
| 5 | Donations and Bequests |
445 |
398 |
|||
| 6 | Sales of tickets and programmes |
8,097 |
8,626 |
|||
| 7 | Sale and hire of music |
255 |
220 |
|||
| 8 | Fund raising |
1,343 |
1,121 |
|||
| 9 | Advertising and sundry income |
1,490 |
1,570 |
|||
| 10 | Income tax repaid |
1,674 |
1,549 |
|||
| |
|
|||||
21,265 |
23,013 |
|||||
| Outgoing Resources | ||||||
2011 |
2010 |
|||||
| £ |
£ |
|||||
| 11 | Orchestral fees and hire |
2,535 |
6,010 |
|||
| 12 | Soloists fees |
3,237 |
2,405 |
|||
| 13 | Hire and purchase of music |
436 |
564 |
|||
| 14 | Concert hall hire |
2,550 |
2,504 |
|||
| 15 | Rehearsal costs |
2,815 |
2,770 |
|||
| 16 | Printing and advertising |
3,439 |
3,796 |
|||
| 17 | Musical director's fees |
3,790 |
3,670 |
|||
| 18 | Administration expenses |
694 |
657 |
|||
| 19 | Sundry items |
1,655 |
1,642 |
|||
| 20 | Uniforms |
100 |
385 |
|||
| 21 | Donations and sponsorship |
312 |
533 |
|||
| |
|
|||||
21,563 |
24,936 |
|||||
| |
||||||
| Net income/(expenditure) for the year | -298 |
-1,923 |
||||
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