OpenCharities

This text was generated using OCR and may contain errors. Check the original PDF to see the document submitted to the regulator.

2025-07-31-accounts

AGM Minutes

19.00 Monday 19[th] January 2026 King Edward’s School Bath – Gymnasium

  1. Apologies for Absence : Cliff Haresign, Doris Ward, Helen Roberts

2. Minutes of the last AGM held on 20[th] January 2025 – Doris Ward

No comments or corrections received, therefore signed off on 18[th] January 2026 as an accurate record.

3. Matters Arising N/A

4. Musical Directors Report – Benedict Collins Rice

Quick recap

In 2025, we enjoyed an active and varied year of music-making. We began in January with our annual choral workshop, led by David Hill MBE, exploring Bach cantatas as part of our Leipzig Cantata Cycle. In March, we joined the Bath Symphony Orchestra for a performance of Beethoven’s Symphony No. 9 (Choral), alongside a choral work by Ēriks Ešenvalds. During the summer, we presented A Celebration of Psalms in July, before concluding the year with our much-loved Carols by Candlelight at the Pump Room in December, themed around Georgian Christmas music.

BCR Review and Feedback

I want to begin by saying a genuine thank you — not just for the feedback itself, but for the culture behind it. The fact that this choir reflects, discusses, and feeds back in such a thoughtful and constructive way is something I really value. It tells me that people care deeply about the choir, about the music we make together, and about how we work as a community. That matters to me enormously.

I was very heartened by the strong positives that came through. It’s hugely encouraging to hear that people are enjoying rehearsals, feeling stretched in a good way, and noticing the development of the choir over time. I’m particularly glad that the expectation of preparation is being felt as something that ultimately makes rehearsals more musical and more enjoyable. The comments about programme variety, and about singers choosing to join us because of their experience with the choir, were especially affirming — those really feel like shared achievements.

There were also some very thoughtful reflections on rehearsal process. On communication in particular, I’m very aware that I naturally think and speak quickly — and probably even more so when the music-making is energising and showing real potential. This has come up again in the feedback, but I also noticed that it’s now being described as far less of an issue than it once was, which I do take as progress.

I was reminded of an anecdote from another choir I conduct, where the tenors used to complain that they could never hear what I was saying — which was baffling, as they were right at the front and the basses behind them never had a problem at all. We eventually realised the issue wasn’t volume or clarity, but attention! I’m very glad to say that this clearly isn’t the case here. What I really do take on board, though, is that some information is simply better shared in writing and ahead of time — particularly things like part allocations, cuts, and choir-specific instructions. For a programme as complex as Belshazzar, that will undoubtedly help all of us and make rehearsals more efficient, so thank you for that suggestion.

The trade-off, I hope, is that with key information circulated clearly in advance, we won’t need to spend as much rehearsal time repeating it. When cuts went out for the Carols programme, or when the pronunciation guide went round for Carmina, there were still some people caught out — and Carols, as I’ve said before, was a particularly challenging rehearsal process in that respect. I want to thank you all again for how positive and flexible you were through that period, and especially Jane, our Librarian. I know it wasn’t always irritation-free, but it was handled with enormous goodwill. It was also, I believe, our most profitable Carols ever, which is just one of several measures of success from the year.

Warm-Ups

Warm-ups were also raised again, and I’d like to say a little more about that, because I think there’s an important distinction here that isn’t always obvious. For me, “warming up” and “doing vocal exercises” are not quite the same thing. I’m sure many of us have sung in choirs where we’ve spent ten or fifteen minutes on vocal exercises or patterns, and then still opened the score feeling not especially warm or vocally ready. Equally, some of the most effective warming-up we ever do happens outside the rehearsal room altogether — two minutes in the car, or just before leaving the house — doing exactly what your instrument needs that day.

For me personally, that’s usually a set of lip-trill sirens and a few long, steady notes, listening carefully to the sound. And I’m very aware that each of us will have slightly different needs in that respect. I would actively encourage singers to take ownership of that personal preparation where possible, because no group exercise can ever fully replace knowing your own voice.

That said, this absolutely isn’t me washing my hands of responsibility for guiding and supporting vocal development, or suggesting that how we warm up together doesn’t matter. Quite the opposite. The first fifteen minutes of every rehearsal are always planned very deliberately. I think carefully about what we’re singing, what kind of vocal demands the music makes — tessitura, speed, texture, language — and how we move into that in a way that supports the voice. Sometimes that involves explicit vocal exercises; sometimes it involves repertoire-based singing chosen precisely because it serves as a warm-up.

Warming up is also not only physical. For many of us — certainly for me — it’s about settling into a different kind of listening and concentration. It takes a little while for the brain to shift gears, to tune into the sound around us, and to become fully present in the room. That process is part of warming up too, and it’s something I consciously factor into how rehearsals begin, even if it doesn’t always look like a traditional warm-up. That said, I do hear clearly that some singers would value more consistency and reassurance in this area, and I will continue to reflect on how best to make that more visible and supportive for everyone.

Sectionals and Questions

There were also some comments about sectionals with Marcus occasionally becoming a space for questions about how I want particular things to go. In some circumstances, that can be a really good use of that time. I’ve been an assistant to other conductors where singers have come to me saying, “We genuinely don’t understand what he’s beating in this bar — where on earth are we meant to put that F-sharp?” And if we ever did find ourselves in that sort of situation — which I very much hope we don’t — I genuinely can’t think of anyone more kind, tactful, or musically intelligent than Marcus to help navigate it.

That said, the more important point for me is this: if you have a question in rehearsal, please just ask it. Stick a hand up, call out, heckle me if that’s what it takes. When we move on from a section, we all need to be clear about what we’re aiming for and how we might go about it, and unanswered questions only tend to resurface later in more frustrating ways. And as ever, if you have a question or a thought, I can almost guarantee that at least three other people in the room have been thinking exactly the same thing. I hope you know by now that my style isn’t dictatorial — I’m quite a teddy bear really — and there genuinely is no such thing as a silly question.

Attendance for Concerts

I also want to say a few words about attendance for concerts. I hope the criteria for attending enough rehearsals is always communicated clearly. Overall, I think the system is working well — attendance is good, and most people who fall below the required number of rehearsals let me know in advance and are often very helpful in other ways, whether that’s stewarding, running the bar, supporting from the audience, etc.

The “firing squad” audition with me is also quite self-selecting. If someone feels confident enough in their preparation to audition without having attended every rehearsal, that usually reflects a lot of private work — and in most cases, it is clearly demonstrated. Of course, not everyone passes, and I know the percentage pass rate can sometimes feel frustrating to those who have attended all rehearsals. But most people don’t put themselves forward, and even then, not everyone gets through. Overall, I believe the process is working well at the moment, though, as always, it continues to be fine-tuned.

Workshops and Finances

On the topic of workshops and finances, I want to reassure everyone that the finances of the workshop are very solid. Our Treasurer, Will, has produced detailed and convincing financial reports showing that we can comfortably afford the increased costs, particularly given the benefits we hope the day will bring — both in terms of raising the choir’s profile and enhancing our musical development.

There is also the possibility of offering more traditional workshops at other times, and as ever, your thoughts on what works, what you enjoy, and what could be improved are incredibly important. Please continue to feed back to the committee and your voice reps about the kinds of events you value.

Conclusion

My response to all of the feedback we’ve received is simple: I want to continue to foster this excellent openness that this choir has. It is one of our greatest strengths, and it is what makes working with you such a privilege.

Overall, I feel genuinely encouraged by this feedback. It reflects a choir that is engaged, thoughtful, and invested — and that’s something I never take for granted. I’m very much looking forward to the next phase of our work together, building on what’s going well and continuing to refine what we do, collaboratively and ambitiously.

5. Chairman’s Report – Simon Ingram-Hill

  1. As this is my final AGM as Chair, I hope you will indulge me for a few moments as I reflect on the journey 56 of us have taken together over the last five years, with another 35 of the current membership joining on the way. It’s been quite a journey.

  2. In January 2021 we were still living through COVID. After meeting on Zoom for a number of months, we had just performed our Carols by Candlelight concerts in the Assembly Rooms, only 22 of us at a time, socially distanced 2 metres apart. Andrew Taylor had just

produced this jigsaw puzzle showing us on zoom with our faces and names underneath, an ideal learning tool for me as incoming Chair.

We emerged gradually, rehearsing in Hilary Oliver’s paddock, in an open-barn at Newton St Loe farm, and inside a church, 6 at a time for 30 minutes, Monday to Wednesday, an extraordinary good-will gesture by MD Nigel Perrin.

Finally in July, we were the first choir back inside the Abbey, performing Guerero’s “Duo Seraphim” in 3 choirs, socially distanced. Boy was that an achievement. As a choir we had kept going throughout – not so many others did.

  1. 2022 was different entirely. It was the choir’s 75[th ] anniversary and Nigel’s 75[th] birthday in November, which he chose as his date to step down after conducting our signature work, the Bach B minor mass in the Abbey. A special commemorative programme tracing, in 75 verses, the history of the choir, I gleaned from our archives; the standing ovation at the end of the performance and the Gala dinner in the Pump Room were fitting tributes to Nigel’s 33 years at the helm and our platinum jubilee.

  2. By this time we already knew that, after shortlisting from 33 really strong candidates, interviewing, and finally auditioning in front of the choir, Nigel’s successor would be Benedict. As things turned out, both shared in conducting Carols by Candlelight, and at the final concert in the Pump Room, in a very touching public gesture, as we sang the 7[th] day of Christmas, Nigel descended from the rostrum and with great ceremony handed the baton to Benedict, who humbly received it on bended knee and took over. Just a pity we had to wait 3 years for Benedict to be fitted up with a Georgian costume!

  3. 2023 a year of transiton. Benedict joined us substantively at the beginning of January. A carefully crafted balance of change and continuity was anticipated and delivered. In April we performed an acapella concert, with Gregorian chants, Duruflé’s motets interspersed with Martin’s Mass for Double Choir and some Eric Whitacre. Later came an all- Bruckner concert, Bach’s Magnificat Mendelssohn’s Elijah, Fauré’s Requiem with Parry’s Songs of Farewell and Bernstein’s Chichester Psalms (which I was thrilled to get the chance to do, having performed it at its premiere back in 1965 as a boy chorister). We also celebrated female composers for the first time; psalms by Lili Boulanger – a Laudate Pueri

revelation, and works by Mariana Martines, certainly the first time her Dominum has been recorded and uploaded to Youtube (with the help of our friend, professional sound engineer Stephen Allan). Benedict has also introduced us to the

Geldert and Façade ensembles and some fine new soloists. Have we always got the programming right? and I say “we” as the committee shares responsibility with our MD in selecting music that is challenging, exciting, attractive to singers and to audiences alike. Well, not always; filling the house has become more difficult since Covid – more competition, less money. One choir member felt we were not doing enough Bach and so joined another choir but a singer from that choir has joined us to do more modern music.

  1. In 2024 – sadly we lost Bass singer and long-time financial supporter, Brian Woodruff and

Nigel Perrin. But we gave them both send offs with hearts on sleeves – Brian with Brahms’ “Wie lieblich..” Nigel with a full Bath Abbey, belting out the Hallelujah Chorus.

I hope you’ll agree that the new Voice Rep system is working well and you have appreciated a relaxation of the dress code; I’ve introduced monthly newsbriefs to make sure everyone knows what’s happening at committee level and I am really excited by how our collaboratons are turning out. They are not a new route for us to take but collaborating with an orchestra, specifically the Bath Symphony Orchestra singing Beethoven’s 9[th] , and inviting in some 20 singers from other Bath-based choirs to join us for a whole term, was a “first”. So successful was it that we have agreed to join together in 2027 to perform Rachmaninof’s “The Bells” and maybe make this collaboration a regular one.

Thank you Katie Taylor for running our database and newsletter for many years. Although you are stepping down from that, we are glad that you will continue to look after the social programme for the Belshazzar collaboration.

Thank you Paul Edwards, on behalf of the committee; your tenure as Concert Secretary is proof of how life skills honed in one’s career can be put to such good use in the service of this choir.

Finally to my fellow officers, Doris Ward and before her Kathrin Cockrill, both fantastic Honorary Secretaries – and my goodness, so different, not just in hair tone! – and our

polyvalent/multi-talented Treasurer, Will Acton. You’ve each played an incredibly important role these last few years. And it’s been fun.

To you all, as `I return to the backbenches, I would just like to say “It’s been a pleasure”. Thank you.

At the end of the Chairman’s report, Will Acton on behalf of the membership thanked him for his years of exemplary service, commitment and dedication, and gave him a gift as token of thanks. The meeting clapped.

6. Treasurer’s Report and presentation of accounts for year ending 31 July 2025

The accounts are not yet finalised so we will hold a short EGM to approve these when ready (March/April). In the meantime we have the overview below in a visual format, which the Treasurer explained.

Just so you understand, our fiscal year isn’t a calendar year. It’s a bit unusual, it runs from autumn through to the beginning of summer. What I’ve done here is give you an idea of our financial position. The simple answer is yes, we’re okay financially.

If you look at the front page, you’ll see two columns. The one on the left is for this last year, and the one on the right is the previous year’s accounts, which were audited and signed off. I’ll get them sorted, probably in March or April, depending on when I’m in the country. We’ll hold an EGM then, and we’ll have a quick five minutes to go through the full breakdown.

From that front page, does anyone have any questions right now?

Gift Aid

You’ll see Gift Aid listed. I’ve been keeping it separate for now, but I’ll explain in a minute what we’ve been doing with it.

Subscriptions

Moving on to the second page, subscriptions. I want to talk about what we’re proposing for subscriptions in September. We agreed on the new rate at a previous EGM, so this is for September 2026.

We’ve all been paying £180 for the last three or four years, which has been great and has covered our costs. Subscriptions are about running the choir, paying for Benedict, Marcus, the hire of this venue, promotion, our website, insurance, memberships, and all the little things. It’s not for individual concerts, though we do use some of it to promote the choir throughout the year.

The proposal for the 2026–27 financial year is to increase subscriptions to £200. That’s in line with other choirs in Bath, so we’re not asking for more than others. If you break that down, it’s about £5.40 per rehearsal or £2.70 per hour, so it’s not bad value for money.

CRM and Banking

You might notice a new term in the papers: CRM. Over the next 12 months, as I work my way out and step down next January, a team of us, myself, Steve, James, and others, are working on streamlining our finances. We currently have three bank accounts: our main account, the Friends’ account, and the music account for hiring and buying music. We’re planning to bring them all under one bank.

We’ll also introduce a CRM system that integrates with our accountancy software. That will make life much easier for everyone when it comes to payments, subs, and managing tickets, seating, and publicity. It does come with a monthly fee, but it’ll simplify things significantly for those managing the various elements. We’ll come back to that in a minute when we vote.

Summer Concert and Finances

Next, Belshazzar, the summer concert. As you know, we’re doing a major work, a joint venture with the Bury St Edmund's choir. We’ll bring two choirs and a full orchestra together for performances in Bath and Bury St Edmund's. It’s going to be fantastic, but it’s also very expensive.

To answer Harriet’s question about what’s in that accrued fund, I’ve kept it aside as a slush fund to cover any potential loss from this concert. At the moment, I’m estimating a loss of just over £11,000, based on current ticket sales. So we really need to sell as many tickets as possible. If we can fill the venue, that loss will be much lower, and we won’t need to dip into that fund. Either way, we’re covered, so don’t worry.

It’s going to be a fantastic weekend, a real celebration. We’re throwing the kitchen sink at it, with Willard White as soloist, who commands a significant fee. There’s also a social element involving cider, which John and Katie are helping with. I’m also in discussions with my new boss about some kind of sponsorship.

Payment References

For those who’ve joined in the last 18 months to two years, a quick note on payments. When you pay into our bank account over the next few months, please use the reference provided. It really helps when we’re searching for payments. Instead of writing little stories about why you’re buying a ticket, just use that reference. It makes it much easier to track.

Gift Aid Forms

Also, if you’ve joined in the last two years and haven’t signed a Gift Aid form yet, please pick one up and return it to me as soon as possible.

Explanations and in answer to questions:

  1. Accrued Income = Gift Aid

  2. Subs will increase to £200 in September 2026: running the choir (see under expenses above) not for the concert expenses (except for general choir promotion). This is in line with other choirs in Bath. The equivalent of £5.40 per rehearsal.

  3. We are moving our 3 existing bank accounts (Friends, Music and Main) and put under one bank.

  4. We will also have a Customer Relationship Management (CRM) System at a cost of £25£30 per month to interact with along with our accountancy software, to simplify the whole procedure. This will be completed over the next 12 months.

  5. Cost of Belshazzar concert: Gift Aid will (part) cover the expected loss (£11,336).

  6. Request: when making payments remember to use the references; if willing to gift aid your subscriptions please pick up a form and return asap.

Treasurer completed his report and was thanked.

7. Appointment of the Independent Examiner for the Accounts

8. Subscriptions

Vote to raise Subs to £200 from September 2026

Chairman: Paul Forte

Concert Secretary; Richard Young

Committee Members:

Officers: Paul Forte (Chair), Will Acton (Treasurer), Doris Ward (Hon Secretary). Members: Abi McGillivray (Artists Liaison Manager), John Bandy (Social Secretary), James Davis (Public Relations Manager), Richard Hunt (Safeguarding Officer), Steve Machel (Tickets Secretary) Helen Roberts (Membership Secretary), Richard Young (Concert Secretary).

10. There being no other business the meeting was closed at 19.48 by Simon Ingram-Hill

Bath Bach Choir

Balance sheets

Notes
Assets
Bank Balance
CCLA Investments
1
Friends' bank balance
2
Total cash and investments
Accrued income
3
Prepayments
Total assets
Liabilities
Accounts payable
Accrued expenditure
Net Assets
Represented by:
Friends' account
2
Retained surpluses
4		 Notes 31-Jul-25
31-Jul-24
31-Jul-23
8,899
5,875
1,023
39,404
38,031
37,789
2,894
2,591
3,033
51,197
46,497
41,845
14,035
10,896
7,275
1,188
-
-
66,420
57,393
49,120
450
5,227
1,669
61,194
55,724
48,670
2,894
2,591
3,033
58,300
53,133
45,637
61,194
55,724
48,670

I hereby certify that the accounts are in accordance with the financial records of the Bath Bach Choir, and that I obtained all the information and explanations required by me as an independent examiner in accordance with the general directions by the Charity Commission.

Note 1 (CCLA)
Opening balance: 31 July 2024
Revaluation at year end
Closing balance: 31 July 2024		 38,031
1,373
39,404
Note 2 (Friends)
Opening balance: 31 July 2024
Subs and donations
Ticket income
Donation to choir
Closing balance: 31 July 2025		 2,591
3,250
53
3,000
-
2,894
Note 3 (accrued income)
Accrued gift aid 2021-22 3,150
Accrued gift aid 2022-23 4,125
Accrued gift aid 2023-24 3,390
Accrued gift aid 2024-25 3,370
14,035
14,035
Note 4 (Income & Expenditure)
Opening balance: 31 July 2024
Total income (over)
Total expenditure (over)
Closing balance: 31 July 2025		 53,133
44,503
39,335
-
58,300

Harriet Feilding

20 June 2026

Bath Bach Choir

- Income and Expenditure year ended 31 July 2025

Inc
Ex		 ome
Ticket sales		 General Autumn
concert		 Spring
concert		 Summer
concert		 Carols _Workshops _ Total
2024-25		 Total
2023-24		 Total
2022-23		 Total
2021-22
1,031 210 1,801 10,273 4,191 17,505 31,055 38,155 33,421
Subscriptions 15,004 15,004 13,920 14,817 13,811
Gift aid 3,370 3,370 3,390 4,125 3,150
Donations 931 931 1,227 9,305 2,050
Donation from Patrons and Friends 3,000 3,000 3,000 - -
Programme advertising - - - 700
Music sales and rentals 2,112 2,112 3,883 1,843 683
Other revenue/bar 45 635 504 1,183 2,140 9,288 522
Revaluation of investments 1,373 1,373 2,743 486 981
Bank interest 24 24 27 - -
Raffles
Total income
penditure
Music Director & Repetiteur		 - 425 433 400
24,928 1,665 210 2,305 11,204 4,191 44,503 61,809 78,453 55,718
11,350 1,100 500 600 1,500 748 15,798 16,650 18,225 16,610
Venue hire and other costs 3,255 956 540 642 5,174 320 10,886 18,654 34,746 17,141
Solo singers and instrumentalists 3,500 375 3,875 8,988 24,333 15,753
Donations re Carols collections 1,000 1,000 1,200 1,530 1,000
Programmes, printing& stationery 1,453 1,453 1,069 3,088 1,109
Advertisingand marketing 1,479 460 1,939 1,625 3,645 1,678
Music costs 2,199 2,199 4,281 1,731 1,063
Music Storage 918 918 1,172 570 498
Insurance 700 700 675 634 622
General writeoff
Total expenditure
Surplus/Deficit		 567 567 - - -
21,921 2,516 1,040 4,742 7,674 1,443 39,335 54,313 88,503 55,474
3,007 851
-		 830
-		 2,437
-		 3,530 2,748 5,167 7,496 10,050
-		 244

Bath Bach Choir

Balance sheets

Notes
Assets
Bank Balance
CCLA Investments
1
Friends' bank balance
2
Total cash and investments
Accrued income
3
Prepayments
Total assets
Liabilities
Accounts payable
Accrued expenditure
Net Assets
Represented by:
Friends' account
2
Retained surpluses
4		 Notes 31-Jul-25
31-Jul-24
31-Jul-23
8,899
5,875
1,023
39,404
38,031
37,789
2,894
2,591
3,033
51,197
46,497
41,845
14,035
10,896
7,275
1,188
-
-
66,420
57,393
49,120
450
5,227
1,669
61,194
55,724
48,670
2,894
2,591
3,033
58,300
53,133
45,637
61,194
55,724
48,670

I hereby certify that the accounts are in accordance with the financial records of the Bath Bach Choir, and that I obtained all the information and explanations required by me as an independent examiner in accordance with the general directions by the Charity Commission.

Note 1 (CCLA)
Opening balance: 31 July 2024
Revaluation at year end
Closing balance: 31 July 2024		 38,031
1,373
39,404
Note 2 (Friends)
Opening balance: 31 July 2024
Subs and donations
Ticket income
Donation to choir
Closing balance: 31 July 2025		 2,591
3,250
53
3,000
-
2,894
Note 3 (accrued income)
Accrued gift aid 2021-22 3,150
Accrued gift aid 2022-23 4,125
Accrued gift aid 2023-24 3,390
Accrued gift aid 2024-25 3,370
14,035
14,035
Note 4 (Income & Expenditure)
Opening balance: 31 July 2024
Total income (over)
Total expenditure (over)
Closing balance: 31 July 2025		 53,133
44,503
39,335
-
58,300

Harriet Feilding

20 June 2026

Bath Bach Choir

- Income and Expenditure year ended 31 July 2025

Inc
Ex		 ome
Ticket sales		 General Autumn
concert		 Spring
concert		 Summer
concert		 Carols _Workshops _ Total
2024-25		 Total
2023-24		 Total
2022-23		 Total
2021-22
1,031 210 1,801 10,273 4,191 17,505 31,055 38,155 33,421
Subscriptions 15,004 15,004 13,920 14,817 13,811
Gift aid 3,370 3,370 3,390 4,125 3,150
Donations 931 931 1,227 9,305 2,050
Donation from Patrons and Friends 3,000 3,000 3,000 - -
Programme advertising - - - 700
Music sales and rentals 2,112 2,112 3,883 1,843 683
Other revenue/bar 45 635 504 1,183 2,140 9,288 522
Revaluation of investments 1,373 1,373 2,743 486 981
Bank interest 24 24 27 - -
Raffles
Total income
penditure
Music Director & Repetiteur		 - 425 433 400
24,928 1,665 210 2,305 11,204 4,191 44,503 61,809 78,453 55,718
11,350 1,100 500 600 1,500 748 15,798 16,650 18,225 16,610
Venue hire and other costs 3,255 956 540 642 5,174 320 10,886 18,654 34,746 17,141
Solo singers and instrumentalists 3,500 375 3,875 8,988 24,333 15,753
Donations re Carols collections 1,000 1,000 1,200 1,530 1,000
Programmes, printing& stationery 1,453 1,453 1,069 3,088 1,109
Advertisingand marketing 1,479 460 1,939 1,625 3,645 1,678
Music costs 2,199 2,199 4,281 1,731 1,063
Music Storage 918 918 1,172 570 498
Insurance 700 700 675 634 622
General writeoff
Total expenditure
Surplus/Deficit		 567 567 - - -
21,921 2,516 1,040 4,742 7,674 1,443 39,335 54,313 88,503 55,474
3,007 851
-		 830
-		 2,437
-		 3,530 2,748 5,167 7,496 10,050
-		 244