THE YORK EARLY MUSIC FOUNDATION (A charitable company limited by guaraniee and not havlng o share capital) REPORT AND FINANCIAL STATEMENTS FOR THE YEAR 31 MARCH 2025 Company registration number 3499629 THE YORK EARLY MUSIC FOUNDATION INDEX PAGE TRUSTEES, REPORT INDEPENDENT AUDITOR'S REPORTTO THE MEMBERS AND TRUSTEES 15-18 CONSOLIDATED STATEMENT OF FINANCIAL ACTIVITIES 19 CONSOLIDATED BALANCE SHEET 20 CHARifrf ONLY BALANCE SHEET 21 CONSOLIDATED CASH FLOW STATEMENT 22 CHARITY ONLY CASH FLOW STATEMENT 23 NOTES TO THE ACCOUNTS 24-40 The following pages do not form part of the statutory ar￿OuntS DETAILED CHARITY ONLY INCOME AND EXPENDITURE ACCOUNT 42-43 THE YORK EARLY MUSIC FOUNDATION TRUSTEES. REPORT FOR THE YEAR ENDED 31 MARCH 2025 The Board of TrU￿eeS presents its report and audited consolidated financial statements for the year ended 31 March 2025. The Trustees have adopted the provisions of the Statement of Recommended Practice (SORP) 'Accounting and Reporting by Charities" in preparing the annual report and financial staletnents of the charitable company. The financial statements comply with the accounting policies set out in the notes to the accounts, the Memorandum and Articles of Association, the Charites Acl 2011. Ihe Companies Act 2006, and Accounting and Reporting by Charities: Statement of Recommended Practice applicable to Charities preparing their accounts in accordance wilh the financial reporting standard applicable in the UK and Republic of Ireland published in October 2019. OBJECTIVES AND ACTivrriES The principal activity and charitable objective of the company, as set out in the Memorandum of Association, is to foster, promole and increase public interest in, and knowledge and understanding of, the Arts in general and, in particular, Medieval, Renaissance. Baroque and Classical Music. Also to protect and conserve, or assist in the protection and conservation of, for the public benefit. any building, artefact. manuscript, colleciion, archive or other records which are of historic artistic or scientrfic interest, value or importance to the local, regional or national heritage of the United KirwJdom or any Oiher country anywhere in Ihe world. The charity, operating as the National Centre for Early Music (NCEM), aims to be the national advocate of early music in England, providing early music experiences and opportunities of the highest quality io an ever widening and diversified community, seeking lo promote the public understanding and enjoyment of early music through historically infomied performances and related creative leaming programmes. We are also committed io developing and promoting our home - Sl Margaret's Church, York - as a significant venue for music and creative learning embracing a wide range of musical genres. Public Benefit The NCEM is a music education charity focusing primarily on the promolion of historically informed performance (aka Early Music). The NCEM believes that its work creates public benefit in all five categories noted within the Charities Act: Democratic value Cultural and crealive value Educational value Social and community value Global value. The activities in this report reflect the NCEM'S commitmeni io best practice, fostering talent and creativty and supporting the local and cultural infrastructure. By concentrating on the public benefit that the NCEM can bring, the NCEM will be better pla￿d to meet the challenges and opportunities of the future - even in times of considerable economic uncertainty. The Trustees confirm that they have complied with their duty to have due regard to the guidance on public benefit published by the Charity Commission in exercising their powers or duties. Democrallc Value From its inception in 2000, the NCEM has sel itself up as a thriving cenlre of artistic excellence, bringing back life to a previously derelict grade-one listed building and encouraging the local community to re-own the building as a focus for local activity. To Ihis end, t1￿ NCEM has vigorously pursued a wide variety of education projects, whilst offering its facilities for local hire, housing local archival material, and ensuring its facilities are accessible for people with special needs. THE YORK EARLY MUSIC FOUNDATION TRUSTEES, REPORT FOR THE YEAR ENDED 31 MARCH 2025 Cullural and Creallve Value Cultural and creative value is created through NCEM'S work in preserving, promoting and performing music of enduring interest and quality from a diverse range of styles, times and conventions. In early music tt encourages research into performance practice and neglected repertoire, while its year-round programme also promotes artists from a range of backgrounds and from around the world. It has also worked in partnership wilh a specirum of providers. including the Orchestra of the Age of Enlightenment, Mishmash Productions, Black Swan Folk Club, the University of York, Northern Silents and partners committed lo the Arts Council's Lets Create Strategy - partnerships that extend and strengthen the range of musical events available to the community, and provide performance opportunities for rising professional artisis. The artistic programme promoted by the NCEM has attracted audiences of all ages. providing a stimulating and informative range of musical experiences, which distinctively complement and extend the programmes of other regional providers. Educalional Value The NCEM'S strands of rnusical activity are complemented by an active programme of educational innovalion and creative learning (see below). This encompasses early music, community music. and work wilh students of all ages {including very young children, primary, secondary, Further Educalion, Higher Education arKI adults) supported by a range of educational resources. Social and Community Value The NCEM promotes music that is inspired by a serse of time, identity and place, recognising its social, cultural and historical context whilst crealing opportunities for new perspectives. In exploring these themes, the NCEM brings togeiher hisiorical performance practice with the contemporary, and ranges across folk, jazz, classical and traditional music through all periods and cultures. This programme has developed well and provides a series of new experiences to a new audience, allowing locally based representatives of international groups opportunities to celebrate their culture. A consistent theme of NCEM'S programme has been participative research into the hisiorical context of York, Yorkshire, its music and its cultural heritage. The NCEM is a key partner with the City of York Council in the strategic development of the City's culture to ensure Ihe city's culturally rich inheritance is available io a wider audien￿, both regionally and nationally. Global Value The international standing of the York Early Music Festival creates powerful messages about the UK as a cultural force in the modern world. Broadcasts through BBC Radio 3, the European Broadcasting Union and across the BBC World Service extend the reach of the Festival, the good name of the Cily of York and that of Ihe NCEM. By promoting music that reflects Ihe unique reputation of the city's historic environment, the NCEM contributes strongly to York's ambassadorial role for Ihe UK, encouraging senior members of the diplomatic. political and arts communities to visit the city. During the year the NCEM continued to raise its profile across Europe. We conlinue to be a key member of the European Early Music Network REMA with NCEM'S Director Delma Tomlin representing the UK on the REMA board. The 2024 York Early Music Festival celebrated York's long relationship with Flanders with the penultimate day ol the Festival dedicated to ensembles from Flanders. supported by Ihe Alamire Foundalion, and a re￿ptIOn hosled by the General Representative of Flanders to the UK. We continued to strengthen our relationship with Institute CeNantes and the Spanish Ministry of Culture io promoie Spanish music and ensembles in the UK. We are an Associate Partner in the Creative Europe funded S-EEEmerging programme (2024-2027) and partnered with AhAUZ (Antwerp) to support a young European ensemble through the European Festivals Fund for Emerging Artists. Grant maklng activilies The NCEM'S Board of Twstees has ultimate responsibility for all grant-making decisions in line with The York Early Music Foundation's charitable purposes and any restrictions agreed with donors and funding partners. However. the Board of Trustees may give ￿rtain decision-making responsibilities to its executive team within its framework of delegalion. THE YORK EARLY MUSIC FOUNDATION TRUSTEES, REPORT FOR THE YEAR ENDED 31 MARCH 2025 ACHIEVEMENTS AND PERFORMANCE This report covers the accounting period 1 April 2024 to 31 March 2025, detailing the athivities and performance of The York Early Music Foundation operating as the National Centre for Early Music (NCEM) and its trading subsidiary, York Early Music Enterprises Limited. FESTIVALS AND SEASON In 2024125 the NCEM direclly promoted 3 festivals of early music (2 in York, 1 in Beverley), and a year- round music programme at St Margaret's Church totalling 75 concerts for which we sold 10,290 tickets alongside our ambitious learning and participaiion programme and artist development activities. Our partnership with BBC Radio 3 enabled us to bring performances from our early music festivals and projects to lm listeners in 7 broadcasts in 2024125 a combination of live concerts, concerts recorded for later broadcast. and Earty Music Shows in particular. The 2024 York Early Music Festival celebrated musical creativity from the medieval to the Baroque intertwining the music of song and metamorphosis in a series of Con￿rtS, lectures and workshops. The festival welcomed BBC New Generation Artist Helen Charlston for a residency sharing 3 unique pertormances. 4 of the 22 concerts were presented within York Minster: The Sixteen, The Gesualdo Six, Vox Luminis and Cappella Pratensis & l Fedeli and as ever, we featured a range of historic venues from across the City of York. We thank AMUZ and Alamire Foundation for supporting a day of the best of early music from Flanders within the Festival and the General RepresentatÈve of Flanders in the UK for celebrating the partnership between the York Early Music Festival and Flanders in a generous reception at York Mansion House. We welcomed 35 musicians in 9 ensembles to York for 5 days for networking and recitals, The 2024 Beverley and East Riding Early Music Festival supported by the East Riding of Yorkshire Council and the Embassy of Spain in London, wove together the Golden Threads of the history of Beverley with the music of the Golden Age of Spain. Celebrating music from the medieval to the high baroque, the festival welcomed near capacity audiences with the Spanish ensemble El Gran Teatro del Mundo opening the festival in the presence of key representatives from Spain in the UK. A series of illustrated lectures focused on the East Riding's unique cultural heritage from John Jenkins and Melanie Giles, and instrumenlal players and choral singers participated in workshops throughout Ihe weekend. Tenebrae appeared for the first time in our Festival, as did Ensemble Augelletti our New Generation Baroque Ensemble, with Iheir performance recorded for later broadcast by BBC Radio 3. The festival included a SongPaih, exploring mental well-being through the transformative power of music and nature, iaking participants across Beverley's green spa￿S including the pastures on the Weslwood. The 2024 York Early Music Christmas Festival embraced both early and folk concerts. Opening with the instrumental ensemble Spiritalo, fellow early music specialists included Solomon's Knot (singing Bach Motets), Stile Antico with their .24 Christmas programme, Siglo d'oro, and BBC New Generation Baroque Ensemble Augelletti, and enhanced by the ever-entertaining Green Matthews. a new collaborative partnership featuring Scollish legends fiddle player Aidan O'Rouke and guitarist Sean Shibe, and Awake Arise. International Networks The NGEM'S Artistic Director continues as a board member of REMA - Ihe European Early Music Network Both NCEM Direclors meel regularly with European colleagues to exchange ideas, hear new ensembles, build relationships and highlight York as a centre for early music perlormance and artist development. Following our participation in two Creative Europe funded large-scale projects {EEEmerging 2014-2018 & EEEmerging+ 2019-2023) and with the UK no lorKJer participating in Creative Europe, the NCEM is developing ways in which to continue to work with our intemational partners that are vital for the continued development of early music in England. We have cemented our relationship with Instituto Cervantes and The Embassy of Spain in the UK and are developing our relationship with Institute Francais, alongside a strong relationship with Flanders cultural organisations. We are an Associate Partner in Sustainable EEEm&rging, and we partner with AMUZ (Antwerp, Belgium) to support emerging ensembles through Ihe European Festivals Fund for Emerging Artists (EFFEA) programme. THE YORK EARLY MUSIC FOUNDATION TRUSTEES. REPORT FOR THE YEAR ENDED 31 MARCH 2025 UK Networks As chair of the UK early music promotors neiwork, the NCEM continued io host regular hybrid network meetings. This network enables UK'S early music promotors lo provKle essential support to each other, share opportunities, and co-ordinale development projects. NCEM disseminates Arts Council best practi along with European opportunities from REMA and invites emerging ensembles the opportunity to perform to network members. ARTIST DEVELOPMENT PROGRAMMES The development of young artists is central to NCEM'S mission, which we deliver through a range of programmes working with UK and international musicians, and delivered in partnership with key industry collaborators. These programmes are continuously informed by our industry networks, direct liaison with emerging artists and supported by a varieiy of generous individuals and trusts and foundations. New Generalion Baroque Ensemble Launched in 2021. the New Generaiion Baroque Ensemble scheme aims io showcase and nurture exceptional UK-based groups working in the Baroque music sphere, as they lake the first steps in their careers. It supports them to reach Ihe next level of professionalism and artistry over a two-year period, using the range of expertise, performance and recording opportunities available through each of the partner organisations. This partnership between ihe NCEM, Royal College of Music and BBC Radio 3 encourages UK baroque ensembles of Ihe future, supporting artists at a critical stage in their careers. In 2024125 our second ensemble, Ensemble Augelletti, appointed in July 2023. enjoyed a week-long residency at the NCEM giving Ihem the opportunity of a week's intensive rehearsals. They benefitted from a day's coaching from RCM'S Ashley Solomon, the opportunity to present to members of the UK Early Music Restoration Network (livestreamed to them from the NCEM) and 2 days of filming new digital conteni which we shared through the European Early Music Network (REMA) as part of the pan-European Early Music Day celebrations. The ensemble also performed in the 2024 York Early Music Christmas Festival, alongside performances at the Royal College of Music and studio recordings at BBC Maida Vale Studios. and slarted to curate their residency for the 2025 Beverley Early Music Festival. New Generation Baroque Ensemble Development Day This now annual day {started in 2023) at Royal College of Music offers emerging professional ensembles the opportunÈty to be coached by RCM'S Head of Historical Performance Professor Ashley Solomon, heard by BBC Radio 3 producers and NCEM Directors, and to find out more about the NGBE scheme with representatives of the partner organisalions. This year it featured five instrumental baroque ensembles comprising 22 individual instrumentalists specialising in repertoire between 1600-1800 and using historically informed playing techniques, instruments, and stylistic convenlions. NCEM Young Composers Award The annual NCEM Young Composers Award was launched in 2008 and is the only such scheme in the UK. It offers a unique opportunity for young composers lo engage with the instruments and performance Styles of early music, and to work with leading professional early musicians. In bridging the worlds of 'early' and 'new' music, the Award complements the NCEM'S education policy, to support and nurture young composers and demonstrate lo all participants that the music of previous cenluries is relevant to today's crealive ondeavours. For the 2024 award the NCEM worked again with our long-standing award partners The Tallis Scholars, with 51 young composers (up to the age of 25) creating new works setting the 16th-century text Mirabile mysterium (A wondrous mystery) for unaccompanied voices. 8 shortlisted composers {4 x 18 & under, 4 x 19-251 joined us in York to workshop their compositions with York-based ensemble Ex Corde and director Paul Gameson and guided by Ihe composer Christopher Fox in the presence of Peter Phillips {Tallis Scholars) and Les Pratt (BBC Radio 3}. Charlotte Robertson's A wonderous mysteryand Ryan Collis's Lux Divinae were chosen to be performed by The Tallis Scholars at Saffron Hall on 20 October and recorded by BBC Radio 3 for broadcast on Sunday 17 November. The NCEM offers continued professional opportunities for the alumni of the award, with biennial commissions for ensembles in the York Early Music Festival. During 2024125 we launched the third fully paid commission for previous finalists of the award, this time to write a new work for a perfomance by Helen Charlston and Toby Carr as part of their new programme at York Early Music Festival 2025. THE YORK EARLY MUSIC FOUNDATION TRUSTEES. REPORT FOR THE YEAR ENDED 31 MARCH 2025 Intematlonal Young Arllsts Competitlon This prestigious longstanding biennial competition for young ensembles takes place at the NCEM as part of York Early Music Fesiival. Recognised as a major international platform for emerging talent in the world of early music, the competition attracts musicians from all over the globe, offering a major boost to young professiona careers with opportunities for perfomiance. recording and broadcasting, and international exposure. The 2024 competition received enlries from 48 ensembles from across Ihe world, restoring interest back 10 pre-covid levels. The York Early Music Festival Artistic Advisors selected 8 ensembles to invite to York for the 5 days of networking. recitals, guided throughout by Steven Devine, and culminating in the competition with an internalional jury of Lionel Meunier (Vox Luminis), Bart Demuyl (Alamire Foundation and AMUZ). Emily Worthington {clarinettist), Elizabeth Kenny (lutenist) and Philip Hobbs (Linn Records). Four separale ensembles won the prizes - as the main prizewinners, Ayres Extemporae will return to Yoth in 2025 for a performance and recording with Linn Records. UK ersemble Apollo s Cabinet won Ihe Friends Prize. with Cambridge Early Music awarding their prize 10 [hanse] Pfeyfferey. and Paul James awarding the EUBO Development Prize to Ensemble Bastion. NCEM Platfomi Artisls The NCEM'S Platform Artists project supports emerging musicians to further develop their careers - offering coaching, recording and performances - showcasing artists of the next generaiion within its annual Early Music Festival programmes. During 2024125 this included our partnership with Le Poeme Harmonique, offering a performance in the 2024 York Early Music Christmas Festival to Emilia Bertolini, winner of their Corneille Competition New Voices in Normandy. Within thai Festival we also provided a first performance opportunity in York to Intes& a duo that we first heard at the 2024 NGBE Development Day. TAKE PART The NCEM continues to support a lively year-round creative leaming pr()Jramme for people of all ages supported by the Mayfield Valley Arts Trust and a variety of generous donors and trusts and foundations. The programme is designed to provide opportunities for people to make music and explore their creative potential. The activities focus not only on music from the past, but also contemporary music and music technology, and include an ever-expanding range of learning resources. I Can Playl I Can Play. provides music-making opportunities for Dldeaf children across Ihe City of York, supporting them to make a connection with music, gain confidence, raise aspiralions. undersland their right lo access high quality music teaching, and develop their identity as Dldeaf musicians. It also aims to engage with families and to upskill educators. I Can Play sessions take place as part of the weekly music provision at York Music Centre, made possible by the strong partnership between NCEM and York Arts Education. '1 Can Play with Brass Roots.. a collaboration between NCEM'S I Can Playl and Shepherd Brass Band. supports Dldeaf musicians in music-making in brass bands, suitable for children (7+) with any degree of deafness, their siblings, and Ghildren of Deaf Adults (CODAS). Participants gain experien￿ of playing MLJSIC in a bandlensemble environment, whilst developing their skills on a brass instrument. This project won '2024 Band Project of the Year Award. by Brass Bands England. The Minsler Minsirels NCEM'S youth early music group, the Minster Minstrels, continues in successful partnership with York Arts Education, running during term time as one of the ensemble options al York Music Centre. Supported by York Music Hub, the ensemble offers young people aged 6-18 the rare opportunity to explore period music using modern instruments and they are increasingly recognised as an exceptionally talented youth group. The ensemble meets during term time on Saturday mornings under the new expert leadership of baroque violinist Nina Kumin who specialises in creating improvisation games to build confidence, iechnical skills and knowledge of different baroque styles. In March 2025 they travelled lo Cliffe Castle lo perfom in their Music al the Museum Series, supported by Bradford 2025. THE YORK EARLY MUSIC FOUNDATION TRUSTEES. REPORT FOR THE YEAR ENDED 31 MARCH 2025 Fulures in Jazz Supported by Ronnie Scott's Charitable Foundation. NCEM'S partnership with York Music Forum Jazz Orchestra is flourishing, offering workshop and performance opportunities for this exciting young group of musicians with visiting artist5. With her trio. international jazz vocalist Claire Martin lent her vocals to a recording session at NCEM. giving the young jazz musicians a first experience of professional recording techniques. Workshops for Young Musicians The NCEM enjoys partnerships with a wide range of performers and music organisations and works to facilitaie opportunities to benefit local and regional young musicians through these connections. Primary Schools The NCEM is working in partnership with OAE Education, York Music Hub and the University of York to support early years music and KS1 provision in York over a five year period. This year the NCEM hosted nearly 600 children from 6 York primary schools in OAE'S 4 performances of music and actions. St Lawrence's Prlmary School NCEM'S partnership with St Lawrence's Primary School, facilitated through our role as their Cultural Champion as part of York's LCEP REACH, has developed further. Through Ihis partnership we are encouraging and facilitating St Lawrence's pupils to participate in workshops, concerts and performances. In September Year 5 pupils visited NCEM for a workshop with Ensemble Augelleiti during their NGBE residency, and in December Years 3-6 enjoyed an afternoon of singing activities and performances lo each other and their parents. We continue to offer free tickets to St LaWren￿S fatnilies for family friendly perfomiances at the NCEM, with several families becoming regular attendees. Family Friendly NCEM'S family friendly programme. furKled by a private donor and the Mayfield Valley Arts Trust, continued to offer musical experiences across a range of genres and interactive experiences for young minds. Music Hubs The NCEM works to develop the sector. particularly through close partnership working with two Music Education Hubs in the region York Music Hub and the East Riding Music Education Hub - seeking lo develop inclusive practice and ensure that every child and young person has access to rnusical opportunity, in line with the National Plan for Music Educalion 2022 - The Power of Music to Change Lives. LifevLong Learning The NCEM is keen to encourage learning at all levels and all ages. coordinating a number of adult learning opportunities, workshops and open access days. THE YORK EARLY MUSIC FOUNDATION TRUSTEES, REPORT FOR THE YEAR ENDED 31 MARCH 2025 HEALTH AND WELLBEING The NCEM continues to develop arts activities that have positive impacts on health and wellbeing. Baroque around the Books In December 2024 the NCEM presented a second series of Baroque around the Books. In partnership with Explore York Libraries and Archives. this series of free, relaxed and accessible performances in four of York's community libraries, brought early music to new audiences across the city. Presented as part of our Platform Artists programme, NCEM engaged the young duo Intesa in this series. who delighted audiences. many of whom engaged with the performance whilst allending the libraries for other purposes. The NCEM is working with Explore York for a furlher series in 2025. Cuppa and a Chorus Established in 2017 as part of 'Culture & Wellbeing In York, with initial support from City of York Council, Cuppa and a Chorus has a primary focus on improving wellbeing through communal singing. Participants vouch that they experience a clear boost in mood at the monthly sessions held at the NCEM. in which social contact plays an equal part with the music-making, with continued funding from a variety ol trusts, the project has proved a core part of the NCEM'S community activities. In 2024125 NCEM further developed new partnerships with social prescribers to support and welcome new members of the Cuppa communty. The project also works with the Universities of York and York St John to provide leadership opportunities for postgraduate students in community music leadership and is exploring a new partnership with Mysigm York, working towards being a Sighl Loss Friendly accredited activity. PROFESSIONAL DEVELoPmE￿r A major priority for the NCEM is professional development and a commitment to youth and to its staff. Many have used the experience gained at NCEM through work experience opportunities, internships and on the events team, as a springboard for professional car*rs in arts administration. Over the last year NCEM continued its commitment to widening access to creative Careers with partnerships with Archbishop Holgates School (work experience) and York College (Industry Placemenl). NCEM conlinues to work closely with the University of York and the University of York St John, offering festival work experience opportunities, recruiting students as stewards, in stage management roles, and as events staff. Postgraduate students from both universities are offered placements in musical leadership on Cuppa and a Chorus and I Can Play. In 2024125 NCEM again engaged with the University of York's MA in Management and the Creative and Culturai Industries, providing an NCEM project as industry case study. This involved the students visiting the NCEM. learning about the NCEM and the project. and presenting their final presentation to NCEh*l project team. RESOURCES AND INFORMATION An important element of NCEM'S current work is to strengthen its profile both locally and nationally. Specifically. by acting as a repository of archival malerial and resources, NCEM is a focus for music practitioners and specific community projects. Educaiional Resources The NCEM produces a number of resources to accompany its education programme. See the Take Part seclion of NCEM'S website. York Mystery Plays The NCEM has taken a major role in the reinvigoration of the York Mystery Plays and serves as the international centre for information on the Plays since their revival in 1951. See the York Mystery Plays, website www. orkm sie s.or THE YORK EARLY MUSIC FOUNDATION TRUSTEES, REPORT FOR THE YEAR ENDED 31 MARCH 2025 PARTNERSHIPS AND SUPPORT The NCEM'S ambitious artistic and learning programmes are supported by a variety of public funds, trust funds, commercial income and by an increasing number of individuals who have pledged support through the NCEM Patrons scheme. The NCEM Patrons scheme. which offers an opportunity for music lovers to invest their support and become part of the NCEM'S future. is continuing to develop momentum, with over 40 members. The NCEM continues io run the Friends of York Early Music Festival which engages with over 100 individuals interested in supporting the annual summer festival. During the year the NCEM has been successful in drawing in a number of grants from.. Arts Council England as a National Portfolio Organisalion {2023-2026)', City of York Council to retain discretionary rate relief and an SLA East Riding of Yorkshire to support the annual Beverley & East Riding Early Music Festival. John Feldberg Foundation support our Young Artist Development Programmes. Harrogate Deaf Society and Ovingdean Hall Foundation to support the I Can Play project The Purey Cust Trust, the Reed Foundation and the many donors to our Big Give campaign lo support our Cultural Wellbeing activities The Rainbow Dickinson Trust for supporting the development of the NCEM Young Composers Award an increasing number of trust funds and individuals; and we remain especially grateful to the Mayfield Valley Arts Trust for their continuing annual grant lo support our creative learning programme. COMMERCIAL ACTIVITIES The NCEM team continues to work exceptionally hard to maximise our non-core business. Since 2015 we experienced significanl year on year grovAh, and whilsl covid interrupted this growth, in 2024125 the NCEM generated commercial income of £197,059 (2023124: £205,686). Venue Facililies NCEM'S commercial hire has developed over the past 15 years, evolving from a conference venue to a wedding reception venue as the markets have changed. The NCEM has responded creatively to the changing market. and now the NCEM has become a well-established venue for parties and wedding receptions and is optimistic about Ihe signs of re-grovrth in the conference market. Communily Hire As well as providing a venue for specrfic conferences for clienls, the NCEM is also hired out to various organisations who use the space and facilities for their own meetings and events, This is an excellent way of the NCEM seniing as a focal point for the local community. Instrument Hire The various keyboard instruments owned by NCEM make up a unique collection of instruments that are not otherwise available in the north of England. In addition, NCEM has continued to build up its collection of modern instruments such as chime bars and percussion instruments, which are used for workshops. THE YORK EARLY MUSIC FOUNDATION TRUSTEES. REPORT FOR THE YEAR ENDED 31 MARCH 2025 HUMAN RESOURCES NCEM operates with a small but highly skilled team. The executive team comprises of Delma Tomlin (Director) and Cherry Fricker (Executive Direclor). Delma Tomlin MBE is an established authority on the promotion of earEy music and York Mystery Plays. In February 2000 she was given an Honorary Doctorale of the University of York in recognition of her work in the cty and with the University: in the 2008 New Year's Honours List she was awarded an MBE for services to the arts in Yothshire, and in December 2020 she was awarded Honorary Freedom of the City of York for her contribution to arts and cutture in Ihe City. Delma is a member of the Court of the UnÈversity of York and was the first female Govemor of the York Merchant Adventurers, Company from April 2022- March 2023. Cherry Fricker ACA qualrfied as a Chartered Accouthant in 2001 following a degree in Music. Until June 2023 Cherry was Vioe-chair of Leeds Conservaloire, Chair of the Leeds Conservatoire Audit Committee and co-opted member of the Luminate Education Group Audit Committee. Cherry is a trustee of Yorchestra, York's holiday youth orchestra and a member of the t#)ard of the 'Y Music. Hub, the oversighl board for the new combined hub of York Music Hub and North Yothshire Music Hub. The NCEM team also includes: Dr Ghristopher Roberts: Operations & Events Manager Eff ie Millar: Audience Manager Dr Sophie David: Artist Development Manager India Ashberry: Events Co-ordinator Vicki Sumner: Finance Officer The team is supported by freelance professionals: Shelagh Bourke: Press Consuhanl Ben Pugh: Digital Consultant & Producer Tim Archer: Sound Engineer Celia Frisby: Concert Manager & Programme Editor Mark Hildred: Duty Manager Annabel Amy: Duty Manager Angle Alle: DLrty Manager Guy Tudor: Duty Manager Deborah Whilwell: Duty Manager Emily Lynn: Duty Manager The NCEM also employs a team of casual workers as Events Assistants. -10- THE YORK EARLY MUSIC FOUNDATION TRUSTEES, REPORT FOR THE YEAR ENDED 31 MARCH 2025 FINANCIAL REVIEW The consolidaied net expenditure for the year to 31 March 2025 lotalled £28,614 (2023124 net expenditure £44,466) on total income of £821,178 (23124 £859,751). The net income on unrestricted furKls totalled £7,293 (23124 £1,427), and after designating £10,000 to the building maintenance reserve, unrestricted funds as at 31 March 2025 are £158,483 (2024: £161,190). This is another strong result through a challenging year where inflationary pressures were high, and achieved through strong artistic performance, continued strong financial managemenl and significant commercial activity. Plans for Future Periods In November 2022 the NCEM was successful in its application to be funded as an Arts Council England National Portfolio Organisation and signed a lunding agreement in January 2023. Under this funding agreement, Arts Council England agreed to fund NCEM'S aotivities with £275,444 per annum until March 2026. In 2025 Arts Council England confirmed that it will extend this funding period for all NPOS for a further year until March 2027 and awarded NCEM a small inflationary uplift in 2025126. Reserves Policy At 31 March 2025, The York Early Music Foundation held reserves of £142,644 {2024: £143,143) excluding Ihose which are restricted or designated or can only be realised by disposing of fixed assets held for charty use. Of the total reserves of £2,005,425 (2024: £2,034,039) restricted reserves total £1,666,558 {2024: £1,691,386). £180,354 (2024: £181,463) are currently being held as designated resenies which have been set aside to provide £145,500 for tuture repairs and maintenance of the building, £22,854 to provide for future maintenance ol musical instruments, and £12,000 gifted in legacies for future projects. The Trustees regard the continuation and steady development of our programmes of great importance. The Foundation has a 154-year lease at peppercorn rent from the York Diocesan Board of Finance, starting 1999. The Trustees have no legal obligation lo the Diocesan Board to maintain St Margaret's Church other than to return the building in the condition in which they acquired it - which was in a state of considerable distress. The quinquennial building report prepared by Martin Stancliffe Architects in 1999 details the stale of Sl Margaret's Church pre-restoration. Since opening the Church as the National Centre for Early Music in April 2000, the Truslees have chosen to maintain Ihe building, and grounds, to as high a standard as is practical for a music charity. The most recent quinquennial report was undertaken in 2023 which confirmed that the building is slill in good repair and recommended works are being planned. Reserves are needed by The York Early Music Foundation both to enable the organisation to take advantage of opportunities for new initiatives and to provide security should some sources of income be vulnerable in the future having an appropriate level of reseNes will allow an opportunity to secure alternative income sources. The Trustees consider an appropriate level of reserves to be 6 months, recurring overhead expenditure on operations of The YO￿ Early Music Foundation. The careful financial management over the past few years has provided this important support that has enabled the organisation to survive a very challenging time, and to invest in key development projects for the future. THE YORK EARLY MUSIC FOUNDATION TRUSTEES, REPORT FOR THE YEAR ENDED 31 MARCH 2025 REFERENCE AND ADMINISTRATIVE DETAILS Charfty number 1068331 Company number 3499629 Adminislralion office address National Centre for Early Music Sl Margaret's Church Walmgate York Y019TL Telephone: 01904 645738 TrU￿eeS P M Murphy (Chair) L Clayton-Rawle (appointed 26 June 2025) A Dalta Professor P C Fox (resigned 18 December 2024) V Johnson (resigned 26 March 2025) M L McGregor S A R Procter M J Slancliffe (resigned 26 January 2025) P A Tyack D O A Wallis {appointed 26 March 2025) P M D Wood (appointed 26 March 2025) Key Management Personnel Dr Delma Tomlin MBE - Director Cherry Fricker ACA - Executive Directorlcompany Secretary Auditor Frances Howard FCA Fortus Audit LLP Equinox House Clifton Park Avenue Shipton Road York Y030 SPA Bankers HSBC Bank plc PO Box 26 13 Parliament Street York Y018XS Solicilors Harrowells LLP Moorgate House Clifton Moorgate York Y030 4WY STRUCTURE. GOVERNANCE AND mANAGEmE￿r Organisation The York Early Music Foundation operates as The National Centre for Early Music, based in the restored Church of St Margaret's, York. The Board of Trustees, who are also the directors of the company, administers The National Centre for Early Music. The Board meets quarterly to discuss and agree the Foundation's on-going business, programme and perfomance and the strategic direction. The number of trustees is not subject to any maximum but should not be less than Ihree. Trustees are required to seek re- election at the first annual general meeting following election, and one third by rotation musi seek re-eleciion at every annual general meeting. Day to day operations are delegated to Delma Tomlin (Director) and Cherry Fricker (Executive Director). Cherry Fricker took over as Company Secretary in September 2024. No Trustee received any remuneration or benefits during the year in respect of their services to the company. -12- THE YORK EARLY MUSIC FOUNDATION TRUSTEES. REPORT FOR THE YEAR ENDED 31 MARCH 2025 Governing Documeni The York Early Music Foundation is a registered charity in the form of a company limited by guarantee (Registered Charty Number 1068331). In the event of the company being wound up. the liability of each of the members is limited to one pound. The Memorandum and Articles of Association {incorporated 27 January 1998) of the company prohibits the distribution of any property to members upon the winding up or dissolution of the company. The financial statements comply with the statutory requirements and with those of the charity's governing document. The York Early Music Foundation is managed by a Board of Ttustees. Between 1st April 2024 and the date of signing of the financial statements, the Board of Trustees comprised the following indivÉduals and their interests during that period: Lorna Clayton-Rawle Trustee (from 26.03.25) Trustee Senior Fundraising Manager. Science Museum Group Anita Datta Freelance musician and composer Conductor and Founder, The Swan Consort Creative Learning and Participation Producer, London Handel Festival Postdoctoral Research Associate, Guildhall School of Music and Drama Organ Tutor, Chetham's School of Music Trustee, Bishopsgate Institule and Foundation Prof. Christopher Fox Trustee (to 18.12.24) Composer Honorary Professor of Music, University of York Emeritus Professor of Music, Brunel University London Editor, TEMPO, Cambridge University Press Visiiing Professor of Music, University of Huddersfield Member, Academy of Arts, Berlin Victoria Johnson Twstee (to 26.03.25) Dean of Chapel, St John's College Cambridge Trustee, Ryedale Festival Trust Limited Trustee, Church Music Society Menna McGregor Truslee Trustee. The Royal Ballel School Endowment Fund Trustee. The Du￿1Ch Estaie Trustee. Newton Bursary Fund Paul Murphy Trustee (Chair) Chair of the York and North Yorkshire Welfare Benefits Unit Dr Simon Procter Trustee Director, Converge Professor, York St John University Martin Stancliffe Trustee (10 26.01.25) Surveyor Emeritus, St Pauls Cathedral Member, York Minster Fabric Advisory Committee Member, Canterbury Cathedral Fabric Advisory Committee Paul Tyack Trustee Director of Advancement, Newcastle University Dominic Wallis Trustee (from 26.03.25) Associate Artist, Tenebrae Heritage Consultant, Caroe Architecture Philip Wood Trustee (from 26.03.25) Chief Executive, Leeds Teaching Hospitals NHS Trust Director, Northern Health Science Alliance Chair, Leeds Academic Health Partnership Trustee, The Foundation Trust Network -13- THE YORK EARLY MUSIC FOUNDATION TRUSTEES. REPORT FOR THE YEAR ENDED 31 MARCH 2025 Appointmeni of Trnsiees The Board of Trustees keeps under review the skills required of the Board. When necessary. the Board seeks new trustees to ensure the maintenance of the necessary mix of skills. Trusiees. Inductlon and Training The induction of new trustees is designed to give them a proper understanding of all aspects of the work of the Foundation. It includes meetings with the directors and board members, covering the wide range of projects administered by the Foundation, the responsibilities associated with the care and maintenance of a historic Church, and the powers and resp)nsibilities of the Trustee Board. The welcome pack includes a copy of the Memorandum and Articles of Association, previous annual reports and accounts, the business plan, a copy of the Charity Commission Guidance "The Essential Trustee. and other relevant papers. Remuneralion Policy The Board of Trustees sets Ihe remuneration of Ihe NCEM'S key management personnel. In doing so, the Trustees priority is to set pay that attracts and keeps appropriately qualrfied staff to lead, manage, support and deliver the NCEM'S aims, taking into account normal sector rates, with annual increases teing in line with inflation. Equallly and Diverslty Pollcy The NCEM has a regularly reviewed equality and diversity policy. The policy confirrns that the NCEM encourages access for all people to attendlor participate in its activities and will not discriminate directly or indireclly against any group or individual through its policies, procedures or operation. The NCEM also recognises and positively values the cultural diversity that exists in British society. Safeguardlng Pollcy The York Early Music Foundation recc*Jnises that the welfare of all younglvulnerable persons is paramount, and Ihat it has a duty to safeguard the welfare of all young people and vulnerable adults, whatever their age, culture, disability, gender, language, racial origin, religious beliefs or sexual identity. As such Ihe Foundalion ensures that the Safeguarding Policy is in line with current regulation and operates effectively within the organisation. Envlronmental Policy Recognising its responsibilities as an ethically guided organisation, The York Early Music Foundation has laid oui a voluntary policy regarding its activities and operations and their impact on the environment. Core lo the policy is a commitment to integrate environmental management principles into each aspect of the Foundation's day-to-day business to ensure thal any environmental issues are addressed. Investment Powers and Pollcy It is the Foundation's policy to obtain funding for activities in its programmes prior to its enlering into any commitmenl. As a result, Ihe Foundation regularly has significant cash funds that are committed to be spent on specific activities and events over a future period. The Board has delegated responsibilty to the CEO for the short-term investment of these iemporary surplus funds in the Money Market through the Foundation's bankers. The Foundation does not invest funds in financial instruments that could put the capital invested at risk. Risk Management The Trustees quarterly review a full and detailed Risk Register that identifies the major strategic, business and operational risks that the NCEM faces and discusses whether the systems and controls that have been established to both monitor and mitigate these risks, are sufficient and appropriate. Each risk has been rated as to the potential severity of each risk alongside the likelihood of it occurring. At each board meeting, twstees identify whether any new risks have arisen that need to be added to the Risk Register. -14- THE YORK EARLY MUSIC FOUNDATION TRUSTEES, REPORT FOR THE YEAR ENDED 31 MARCH 2025 TRUSTEES, RESPONSIBILITIES The Trustees (who are also directors of The York Early Music Foundalion for the purposes of company lawl are responsible for preparing Ihe Trustees, Report and the financial staiements in accordance with applicable law and United Kingdom Accounting Standards (United Kingdom Generally Accepted Accounting Practice). Company law requires the Truslees to prepare financial statements for each financial year. Under company law the Trustees must not approve financial statements unless they are satisfied that they give a true and fair view of the state of affairs of the group and parent charitable company, and of the incoming resources and application of resources, including income and expenditure, of the group and parent charitable company for that period. In preparing these financial statements, the Trustees are required to., select suitable accounting policies as describ&1 and then apply them consistently; obsenie the methods and principles in the Charities SORP 2019 IFRS 1021. make judgements and estimates that are reasonable a￿1 prudenl,. state whether applicable UK Accounting Slandards have been followed, subject to any material departures disclosed and explained in the financial statements; and prepare the financial statements on the going concern basis unless tt is inappropriate lo presume that the group and parent chartiable company will continue in 0￿ration. The Trustees are responsible for keeping adequate accounting records that disclose with reasonable a￿uracY at any time the financial position of the group and parent charitable company and to enable them to ensure that the financial statements comply with the Companies Act 2006. They are also responsible for safeguarding the assets of the group and parent charitable company arKI he￿e for taking reasonable steps for the prevention and detection of fraud and olher irregularities. In so far as the Trustee5 are: there is no relevant audit information of which the group's auditor is unaware, and the Trustees have taken all steps tha they ought to have taken io make Ihemselves aware of any relevant audit information and lo establish thal the auditor is aware of that infomiation. Approved by the Board of Tru51ees on .7f ..signed on their behalf by: P M hAurphy - stee C Fricker- Company Secretary 15- INDEPENDENT AUDrroR'S REPORTTO THE MEMBERS ANDTRUSTEES OF THE YORK EARLY MUSIC FOUNDATION Oplnion We have audited the financial statements of The York Early Music Foundation (the 'parenl charitable company,) and its subsidiary {the 'group') for the year ended 31 March 2025 which comprise the Consolidated Statement of Financial Activities, the Consolidated and Charty Only Balance Sheets, the Consolidated and Charity Only Cash Flow Staiements and the notes to the financial statements, including significant accounting policies. The financial reporting framework that has been applied in their preparation is applicable law and United Kingdom Accounting Standards, including Financial Reporting standard 102 The Financial Reporting Standard applicable in the UK and Republic of Ireland (United Kingdom Generally Accepted Accounting Praclice). In our opinion the financial siatements: give a true and fair view of the state of the group's and parent charitable company's affairs as at 31 March 2025, and of the group's its incoming resources and application of resources, including ts income and expenditure, for the year then ended; have IEen properly prepared in accordan￿ with United Kingdom Generally Accepted Accounting Practice. and have been prepared in accordance with the requirements of the Companies Act 2006 and the Charities Act2011. Basis for opinion We conducted our audit in accordance with Intemational Standards on Auditing (UK) (ISAS {UK)) and applicable law. Our responsibilities under those standards are further described in the Auditor's responsibilities for the audit of Ihe financial statements section of our report. We are independent of the group and parent charitable company in accordance with the ethical requirements that are relevant to our audil of the financial statements in the UK, including the FRC'S Ethical Standard, and we have fulfilled our other ethical responsibilities in accordance with these requirements. We believe that the audit evidence we have obtained is sufficient and appropriate to provide a basis for our opinion. Concluslons relating to golng concem In auditing the financial statements, we have concluded that the Trustees, use of the going concern basis of accounting in the preparation of the financial slatements is appropriate. Based on the work we have perfomed, we have not identified any material uncertainties relating lo events or conditions that, individually or collectively, may cast significant doubt on Ihe group's or parent charitable company's ability lo continue as a going concem for a period of at least twelve months from when the financial statements are authorised for issue. Our responsibilities and the responsibilities of the Trusiees with respecl to going concern are described in the relevant sections of this rewrt. Other Inforniaiion The other information comprises the information included in the Twslees, Annual Report, other than the financial statements and our auditor's report thereon. The Trustees are responsible for the other infomation contained within the Annual Report. Our opinion on the financial statements does not cover the other information and, except to the extent otherwise explicitly stated in our report, we do not express any form of assuran￿ conclusion thereon. Our responsibility is to read the other information and, in doing so, consider whether the other information is materially inconsistent with the financial staiements or our knowledge obtained in Ihe course of the audit or otherwise appears io be malerially misstated. If we identify such material inconsistencies or apparent material misstatements, we are required lo determine whether this gives rise to a material misstatement in the financial statements themsefves. If, based on the work we have performed, we conclude that there is a material misstatement of this other information, we are required to report that fact. We have nothing to report in this regard. 16- lNDEPENDE￿fAuDrr0R's REPORTTO THE MEMBERS AND TRUSTEES OF THE YORK EARLY MUSIC FOUNDATION Opinions on other mailers prescribed by the Companies Act 2006 In our opinion, based on the work undertaken in the course of the audit: the information given in the Trustees. Report (incorporating the directors. reporl) for the financial year for which the financial statements are prepared is consistent with the financial statements; and the directors. report has been prepared in accordance wiEh applicable legal requirements. Matters on whith we a￿ required lo report by exception In Ihe light of our knowledge and understanding of the group and parent charitable company and its environment obtained in the course of the audit, V￿ have nol identified material misstatement in the directors, report. We have nothing to report in respect of the following matters in relation to which the Companies Act 2006 and the Charities Act 2011 require us to report io you if, in our opinion: adequate and sufficient accounting records have not been kept ty Ihe group and parent charitable compary, or returns adequate for our audtt have not been received from branches not visited by us" or the group's and parent charitable company's financial statements are not in agreement with the accounting records and returns. or certain disclosures of directors, remuneration specified by law are not made; or we have not received all the inf0M￿lon and explanations we require for our audit" or the Trustees were mt entitled to prepare the financial statemenls in accordance with the small companies. regime and take advantage of the stnall companies, exemption in weparing the directo￿, report and from the requirement to prepare a straiegic report. Responsibilities of Trustees As explained more fully in the Trustees. Responsibilities statement set out on page 13, the Trustees (who are also the directors of the parent charitable company for the purposes of company law) are responsible for the preparation of financial statements and for being satisfied that they give a true and fair view, and for such internal conlrol as the Trustees determine is necessary to enable the preparation of financial siaiements that are free from material misstatement. whether due to fraud or error. In preparing the financial statements, the Truslees are responsible for assessing the group's and parent charitable company's ability to continue as a going concern, disclosing. as applicable, malters related to going concern and using the going concern basis of ac£ounting unless the Trustees either intend to liquidate Ihe group or parent charitable company or to cease operations, or have no realistic ahernative but to do so. 17- INDEPENDENT AUDITOR'S REPORTTO THE MEMBERS AND TRUSTEES OF THE YORK EARLY MUSIC FOUNDATION Auditor's responslbililies for the audlt of the financlal statements Our objectives are to obtain reasonable assurance about whether the financial statements as a whole are free from material misstatement. whether due to fraud or error, and to issue a Report of the Independent Auditors that includes our opinion. Reasonable assurance is a high level of assurance, but is not a guarantee that an audit conducted in accordance with ISAS (UK) will always detect a material misstatement when it exists. Misstatements can arise from fraud or error and are considered material if, individually or in the aggregate, they could reasonably be expected to influence the economic decisions of users taken on the basls of these financial slatements. Irregularities, including fraud, are instances of non-compliance with laws and regulatlons. We design proce(lures in line with our responsibilities, outlined above, to detect material misstalements in respect of irregularities, including fraud. The extent lo which our procedures are capable of detecting irregularities, including fraud is detailed below: We obtained an understanding of the legal and regulatory frameworks that are applicable to Ihe charitable company and detemiined that the most significant frameworks which are directly relevant io specific assertions in the financial statements are Ihose that relate to the reporting framework (UK GAAP and the Companies Act 2006) and the relevant tax compliance regulations in the UK. We understood how the charitable company is complying with those frameworks by making enquiries of management and those responsible for legal and compliance procedures. We corroboraled our enquiries through review of board minutes and discussions with those charged with govemance. We assessed the susceptibility of the charitable company's financial statements to material misstatement, including how fraud might occur, by discussion with management from various parts of the business to understand where they considered there was a susceptibility to fraud. We considered the procedures and controls that the charitable company has established to prevent and detect fraud, and how these are monitored by management, and also any enhanced risk factors such as performance targets. Based on our understanding, we designed our audit procedures to identify any non-compliance with laws and regulations identified in the paragraphs above. We also performed audit work over the risk of management override of controls, including testing o* journal entries and Oiher adjustments for appropriateness, evalualing the business rationale of significant transaclions outside the normal course of business and reviewing accounting estimates for bias. Because of the inherent limitations of an audit, there is a risk that we will not detect all irregularities, including those leading to a material misslalement in the financial statements or non-compliance with regulation. This risk increases the more that compliance with a law or regulation is removed from the events and transactions reflecied in the financial statements, as we will be less likely lo become aware of instances of non- compliance. The risk is also greater regarding irregularities occurring due to fraud rather than error, as fraud involves intentional concealment, forgery, collusion. omission or misrepresentation. A further description of our responsibilities for the audit of the financial stalements is located on the Financial Reporting Council's website al: www.frc.or -uklauditorsres nsibilities. This description forms part of our auditor's reF)Ort. 18- INDEPENDENT AUDITOR'S REPORTTO THE MEMBERS AND TRUSTEES OF THE YORK EARLY MUSIC FOUNDATION Use of our report This report is made solely to the charitable company's Members, as a body. in accordance with cha￿er 3 of Part 16 of the Companies Act 2006 and to the charitable company's Trustees. as a body, in accordance with Part 4 of the Charities (Account5 and Reports) Regulations 2008. Our audit work has been undertaken so that we might state to the parent charitable company's Members and its Trusiees those matters we are required to state to them in an audiior's report and for no other purpose. To the fullest extent permitted by law, we do not accepi or assume responsibility to anyone other than the parent charitable company and the parent charitable company's Members, as a body and the parent charitable company's Trustees, as a body, for our audit worK for this report, or for the opinions we have formed. rances Howard FCA (Senior Statutory Auditor) For and on behalf of Fortus AudÉt LLP, Statutory Auditor Equinox House Clifton Park Avenue Shipton Road Yo Y030 SPA 19- THE YORK EARLY MUSIC FOUNDATION CONSOLIDATED STATEMEiif OF FINANCIAL ACTIVITIES (INCORPORATING INCOME AND EXPENDITURE ACCOUNT) FOR THE YEAR ENDED 31 TrAARCH 2025 2025 Total 2024 Total Note Unrestricted Designated Restricted INCOME Donations & legacies Other trading activities Charitable activities Investment income Other income 46,145 197,059 464,009 6.943 5,000 5,000 25,369 76,514 197,059 535,662 6,943 5,000 69,127 205,686 574,780 5,158 5,000 71,653 TOTAL INCOME 719,156 5,000 97,022 821,178 859,751 EXPENDITURE Raising funds Charitable activities 89,158 622,705 89,158 86,743 760,634 817,474 16.109 121.820 TOTAL EXPENDITURE 711,863 16,109 121,820 849,792 904,217 NET INCOMEI(EXPENDrruRE) FOR THE YEAR 7.293 (11,109) (24,798) {28,614) {44,466 TRANSFERS BEfwEEN FUNDS (10,000) 10,000 FUNDS BROUGFrr FORWARD AT 1 APRIL 2024 161,190 181,463 1,691,386 2,034,039 2,078,505 FUNDS CARRIED FORWARD AT 31 MARCH 2025 158,483 180,354 1,666,588 2,005,425 2,034,039 Analysis of the previous year by fund is summarised on note 23 of the financial statements. The statement of financial a￿1VitieS contains all Ihe gains and losses recognised in the current year. All income and expenditure derives from continuing activities. The deficit of the charity for Companies Act purposes is £28,614 (2024.. deficit of £44,466). The noles on pages 24 10 40 form parl of these accounls -20- THE YORK EARLY MUSIC FOUNDATION CONSOLIDATED BALANCE SHEEf AS AT 31 MARCH 2025 Note 2025 2024 FIXED ASSErs Tangible assets 14 1,412,194 1,439,269 CURRENT ASSErs Stock Debtors Cash at bank and in hand 551 85,680 668.786 16 115,232 620,990 755,017 736.222 CURRENT LIABILITIES Creditors falling due within one year 17 (156,161) (141,452) NEf CURRENT ASSErs 598,856 594,770 Creditors falling due after more than one year 18 (5,625) TOTAL NEf ASSErs 2,005,425 2,034,039 FUNDS General unrestricted funds Designated funds 21 21 158,483 180,354 161,190 181,463 Total unrestricted and designated funds 338,837 342,653 Restricted funds- fix&J assets Restricted funds- other 21 21 1,396,355 270,233 1,421,222 270,164 TOTAL FUNDS 2,005,425 2,034,039 COMPANY REGISTRATION NUMBER: 3499629 The Trustees have prepared group accounts in accordance with section 399(4) of the Companies Act 2006 and section 138 of the Charities Act 2011. These financial stalements have been prepared in accordance with the provisions for small companies under Part 15 of Ihe Companies Act 2006 and constitute the annual accounts by the Companies Act 2006 and are for circulation to members of the company. Approved by the Board on 23. 2C and signed on its behalf by: Murphy Trustee C Fricker Company Secretary and Executive Director Th8 notes on pages 24 to 40 fomi part of these accounts 21 THE YORK EARLY MUSIC FOUNDATION CHARITY ONLY BALANCE SHEEf AS AT 31 MARCH 2025 Note 2024 2024 FIXED ASSETS Tangible assets Investments 14 15 1,412.194 1,439,269 1,412,195 1,439,270 CURREKf ASSETS Stock Debtors Cash at bank and in hand 551 125,992 591,579 16 167,740 550,250 718,122 717,990 CURRENT UABILrriES Creditors falling due within one year 17 (124,892) (123,221) NET CURRENT ASSErs 593,230 594,769 TOTAL NET AssErs 2,005,425 2,034,039 CHARrrY FUNDS General unrestricted funds Designated funds 21 21 158,483 180,354 161,190 181,463 Total unrestricted and designated funds 338,837 342,653 Restricted funds- fixed assets Restricted funds - olher 21 21 1,396,355 270,233 1,421,222 270,164 TOTAL CHARrrY FUNDS 2,005,425 2,034,039 COMPANY REGISTRATION NUMBER: 3499629 The Tnjstees have prepared group accounts in accordance with section 399(4) of the Companies Aci 20 and section 138 of the Charities Acl 2011. These financial statements have been prepared in accordance with the provisions for small companies under Part 15 of the Companies Act 2006 and constitute the annual accounts by the Companies Act 2006 and are for circulation to members of the mpany. Approved by the Board on ... zc ..and signed on its behalf by: P M Murphy Trustee C Fricker Company Secretary and Executive Director The notes on pages 22 10 40 forni part of these accounis THE YORK EARLY MUSIC FOUNDATION CONSOLIDATED CASH FLOW STATEMEKf FOR THE YEAR ENDED 31 MARCH 2025 Note 2025 2024 Cash flows from operating activities: Net cash provided byl(used in) operating activities 52,689 (43.215) Net cash flows from invesling activities: Interest received Receipts from disp)sal of tangible fixed assels Payments to acquire tangible fixed assets 6,943 5,158 (11,836) (29,630) Change in cash and cash equivalents In the year 47,796 (67,687) Cash and cash equivalents at 1 April 2024 620.990 688,677 Cash and equivalents at 31 March 2025 668,786 620,990 RECONCILIATION OF NEf INCOMEI(EXPENDITURE) TO NET CASH FLOW FROM OPERATING ACTivrriES 2025 2024 Nel incomel{expenditure) for the year (28,614) (44.466) Adjustments for: Depreciation of tangible fixed assets Loss/(profit) on sale of tangible fixed assels Interest received Decreasel{increase) in stock Decreasel{increase) in debtors (Decreasellincrease in creditors 38,911 50,709 {6,943) (551) 29,552 20.334 (5,158) (48,992) (4,692) Nel cash provlded byl{used in) operatlng actlvltles 52,689 (43,215) ANALYSIS OF CASH AND CASH EQUIVALEKrs 2025 2024 Cash at bank and in hand 668,786 620,990 -23- THE YORK EARLY MUSIC FOUNDATION CHARITY ONLY CASH FLOW STATEMENT FOR THE YEAR ENDED 31 MARCH 2025 Noie 2025 2024 Cash flows from operating aclivities: Net cash provided byl(used in) operating aciivities 46.222 {24.885) Nel cash flows from invesling activities: Interest received Receipts from disposal of tangible fixed assels Payments to acquire tangible fixed assets 5,158 (11,836) (29,630) Change In cash and cash equivalenls in the year 41,329 (49,357) Cash and cash equivalents at 1 April 2024 550,250 599,607 Cash and equlvalents ai 31 March 2025 591.579 550,250 RECONCIUATION OF NEf INCOMEI(EXPENDITURE} TO NEf CASH FLOW FROM OPERATING ACTivrriES 2025 2024 Net ineomel{expendilure) for the year (28,614) (44.466) Adjustments for: Depreciation of tangible fixed assets Loss/{profit) on sale of tangible fixed assets Interest received Decreasel{increase) in stock Decreasel{increase) in debtors (Decrease)fincrease in creditors 38,911 50,709 (6,943) (551) 41,748 1,671 (5,158> (37,034) 11,064 Net cash provided byl(used In) operatlng activilies 46,222 (24,885) ANALYSIS OF CASH AND CASH EQuIvALE￿rS 2025 2024 Cash at bank and in hand 591,579 550,250 -24- THE YORK EARLY MUSIC FOUNDATION NOTES TO THE Accou￿rS FOR THE YEAR ENDED 31 MARCH 2025 ACCOUNTING POLICIES {a) Basis of preparation The York Early Music FourKlalion is a registered charty and prwate company limited by guarantee, registered in England and Wales. The chartiy's registered office is as stated on the Trusiees. Report. The financial statements have been prepared in accordance wrth Accounting and RewrtirKJ by Charities: Statement of Recommended Practice applicable to charities preparing their accounts in accordance with the Finanaal Reporting Standard applicable in the UK and Republic of Ireland issued in October 2019, the Financial Reporting Standard applicable in Ihe UK and Republ￿ of Ireland (FRS 102), the Charilies Act 2011. the Companies Act 2006 and UK Generally Accepted Accounting Practice. The York Earty Music Foundation corEtitute5 a public benefFt entty as defined by FRS 102. Assets and liabilities are initially reccMJnised at histor￿al cost or transaction value unless otheThvise stated in the relevant accounting policy notes. The financial statements are prepared in sterling which is ihe functional currency of the charity. Group financial siatements {b) These financial statements consolidate the resuEts of the charity and its wholly owned subsidiary, York Early Music Enterprises Limited, on a line by line basis. As stated in note 15 the charity owns 100°/o of the share capital of York Early Music Enterprises Limited. A separate Statement of Financial Activities (SOFA}, or Income and Expenditure Account, for the Foundation itself is not presented because it has taken advantage of the exemptions afforded by Section 408 of the Companies Act 2006. (c) Income All income is included in the SOFA when the charity is legally entitled to the income and the amount can be quantified with reasonable accuracy. Where a funder specifies thal income must be used in future accounting periods or where income is received for future events it is carried forward as deferred income. Income is staled net of VAT where appropriate. Government grants received under the Coronavirus Job Retention Scheme are recognised in other income in the same period as the corresponding expenditure falls due. Volunieers and donated seTvices and facilities (d) In line with the SORP, the value of services provided by volunteers is not incorporated into these financial statements. Volunteers assist with stewarding for events enabling lower staff costs than would otherwise be the case. (e) Expendiiure All expenditure is accounled for on an accruals basis and has been classified under headings that aggregate all costs relating to the category. Raising funds comprise the costs associated with attracting non-core income. Charitable expenditure comprises those costs incurred by Ihe charity in the delivery of its activities and services. It includes both costs that can be allocated directly to such activities and those costs of an indirect nature necessary to support them. All costs are allocated between the expenditure categories of the SOFA on a basis designed to reflect the use of the resource. -25- THE YORK EARLY MUSIC FOUNDATION NOTES TO THE AccouMfs FOR THE YEAR ENDED 31 MARCH 2024 ACCOUNTING POLICIES (eontlnued) (f) Allocation ol support costs The SORP requires allocation of support costs to those activities which they directly support. In the case of shared costs these are allocated on Ihe basis of usage of facilities as set out in note 8. (g) Tangible fixed assets Depreciation is provided on all iangible fixed assets in use, other than works of art and sculptures, at rates calculated to write off the cosl or vaiuation, less estimaled residual value, of each asset over its expected useful life, as follows: Leasehold land and buildings Instruments Office f ixtures and fittings Office computer equipment Website costs 0.8 /. straight line 5 10 reducing balance 25 /0 reducing balance 25 /0 Straight line 33.33°/o reducing balance Any fixed assets costing more than £500 are capitalised. A full year's depreciation is charged in the year in which the asset is first brought into use. The Trustees have opted to tax the building, St Margaret's Church, for VAT. Investments (h) Investment in the subsidiary is included at cost less any provision for impairment. Financial Instruments The charity has financial assets and liabilities that qualify as basic financial insiruments. Basic financial instruments are initially recognised at transaction value and subsequenlly measured at their settlement value. (i) Funds structure Restricted funds are funds Ihat can onty be used for particular restricted purposes wilhin the object of the chartly. Restriclions arise when specified by the funder or when funds are raised for a specific purpose. Designated funds are unrestricted funds earmarked by the Trustees for particular purposes. unres1ri￿ed funds are funds which &an be used in accordance with Ihe charitable objects al the discretion of the Trustees. (k) Pensions Employees of the charity are entitled to have a proportion of their remuneration paid as pension premiums directly to their defined contribution personal pension schemes invested with Aviva, Standard Life and NEST. Contributions are charged as expenditure in the year in which they are incurred. Judgements and estimaies The preparation of the financial statements requires management to make judgements, estimates and assumptions thal affect the amounts reported. These estimates are continually reviewed and are based on experience and other factors, including expectations of future events that are believed to be reasonable under the circumstances. -26- THE YORK EARLY MUSIC FOUNDATION NOTES TO THE ACCOUNTS FOR THE YEAR ENDED 31 MARCH 2025 ACCOUNTING POLICIES (continued) (m) Foreign currency Foreign currency transactions are initially recognised by applying to the foreign currency amount the spot exchange rale between the functional currency and the foreign currency at the date of the transaction. Monetary assets and liabilities denominated in a foreign currency at the balance sheet date are translated using the closing rate. DONATIONS & LEGACIES 2025 Unrestricted Designated Restricted funds funds funds Total 2025 Donations Donated goods Subscriptions Gift Aid Legacies 36,384 20,000 500 56,384 500 3,027 11,603 5,000 3,027 6,734 4,869 5,000 46,145 s,￿0 25,369 76,514 2024 Unrestricted Desbjnated Restricted funds funds funds Total 2024 Donations Donated goods Subscriptions Gift Aid Legacies 28,390 6,900 270 35.290 270 3,565 23,002 7,000 3,565 17,189 5,813 7,000 49,144 7,CKIO 37,668 69,127 OTHER TRADING ACTIVITIES Unrestricted Designated Total funds funds 2025 Unrestricted Designated Total funds tunds 2024 Trading subsidiary (Note 9) Box Off ice Commission Hire of Church Bar Sales Instwment & Equipment hire Other activities incorne Recording fees PRS income 88,805 10,395 46,643 39,227 6,093 570 4,210 1,116 88,805 10,395 46,643 39.227 6,093 570 4,210 1,116 108,710 8,279 33,517 45,321 6,835 344 1,950 730 108,710 8,279 33,517 45,321 6,835 344 730 197,059 197,059 205,686 205.686 -27- THE YORK EARLY MUSIC FOUNDATION NOTES TO THE ACCOUNTS FOR THE YEAR ENDED 31 MARCH 2025 CHARITABLE ACTIVITIES 2025 Unrestricted Desbjnated Restricied funds funds furKIs Total 2025 Arts Council England 275,444 275,444 Mayfield Valley Arts Twst 30,000 30,000 City of York Council 8,400 8.400 East Riding of Yorkshire Council 15,000 15.000 I Can Play (York): Ovingdean Hall Foundation Other Income 3,000 3.(N)O 327 327 Cultural Wellbeing: Purey Cust Trust Other The Reed Foundation IThe Big Give) 1,125 1,125 2,111 1,CK)O 2,111 1,000 NCEM L&P Programme: York Music Hub Bradford MBC Ronnie Scott's Charitable Foundation 1,438 450 6,CM)O 1,438 450 6,(M)O NCEM Young Composers Award: The Raintrf)w Dickinson Trust University of York 1,500 1,500 500 500 York Early Music Festival: John Feldberg Foundation BarcM]ue at the Edge Tickel & Other Income 10,000 2,140 10,000 2,140 78,048 78,048 Intemational YouThJ Artists Competition Entry Fees 4,C()O 4,000 Beverley Early Music Festival The Embassy of Spain in the UK Tid one year Toial Restricted funds General unrestricled fund Designated funds 1.396.355 15.839 270,233 148,269 180,354 1 ,666.588 158,483 180.354 (5,625) 1,412,194 598,856 (5,625) 2,005,425 2024 Fixed assets Net current (charty use) assetsl(liabilities) Liabilities > one year Total Restricted funds General unrestricted fund Designaied funds 1,421.222 18.047 270.164 143.143 181,463 1.691,386 161,190 181,463 1,439,269 594,770 2,034,039 -37- THE YORK EARLY MUSIC FOUNDATION NOTESTO THE Accou￿rS FOR THE YEAR ENDED 31 MARCH 2025 21. ANALYSIS OF CHARrrY FUNDS 2025 Al 01.04.2024 At 31.03.2025 Income Expenditure Transfer Unrestricled Funds General funds 161,190 719,156 (711,863) {10.000) 158,483 Deslgnaied Funds Maintenance Funds General 135,500 Musical Instruments 22,854 York Early Music Festival Fund 15,000 Legacy 1,109 Legacy 7,000 Legacy 10,000 145,500 22,854 (15,000 {1,109 7,000 5,000 5,000 Total Unrestricted Funds 342,653 724,156 (727,972) 338,837 2024 At 01.04.2023 At 31.03.2024 Income Expenditure Transfer Unrestricled Funds General funds 159,763 711,407 (709,980) 161,190 Deslgnaied Funds mal￿enanCe Funds General 135,500 Musical Instruments 22.854 York Early Music Festival Fund 15,000 Legacy 2,282 Legacy 135,500 22,854 15,000 1,109 7,000 (1,173) 7,000 Total Unrestricted FurKIs 335,399 718,407 (711,153) 342,653 The Maintenance Funds were established to building and to provide for future maintenance o The York Early Music Festival Fund is to provide for the cosls of future Festivals. The NCEM received an Additional Resource Grant of £22,200 from City of York Council to provide financial supwrt to the NCEM 2022 Spring Season. The NCEM received a Legacy of £10,000 in 2017118 to support future projects supporting young emerging ensembles. The NCEM received a Legacy of £7,000 in 2023124 to support future projects supporting young artists. rovide for future repairs and maintenance of the musical instruments. -38- THE YORK EARLY MUSIC FOUNDATION NOTES TO THE ACCOUNTS FOR THE YEAR ENDED 31 MARCH 2025 21. ANALYSIS OF CHARITY FUNDS (continued) 2025 At 01.04.2024 At 31.03.2025 Income Expenditure Transfer Restricted Funds - Flxed Asseis Properly Fund 1 ,336,775 Capital Grants Fund 84,447 Restricied Funds - Other Capital Fund Catalyst Artistic Fund I Can Play (York) John Marvin Fund Beverle E M Festival NCEM ducation Fund Mayfield Valley Arts Trust York Early Music Festival York Mystery Plays Archive Arts & Wellbeing Fund IYAC Donation Famil Friendly Donation BBC Kew Generation Fund Young Artists Fund 12,320 19,790 1,324,455 71,900 7,243 15.955 8.088 16,012 1,600 8,204 14,758 2.929 98.183 1,457 2,500 6.000 10,412 20.733 63,333 (7.243) 8.712 8,088 12,775 1,500 8,497 31,236 2,288 100,323 416 5.869 3,000 (6,237 (100 (14.707 (5.410 (30,641 5,000 1.041 3,000 6.000 2,000 4,074 (11,500 15.000 21.888 30,000 7.140 6,369 8.412 16.659 65,458 13,625 Total Restricted Funds 1,691,386 97.022 (121,820) 1,666,588 2024 At 01.04.2023 At 31.03.2024 Income Expenditure Transfer Restrlcted Funds - Fixed Assets Property Fund 1 ,349.095 Capital Grants Fund 104,172 Reslricied Funds - Other Capital Fund Catalyst Artistic Fund I Can Play (York) John MaNin Fund Beverle E M Festival NCEM ducation Fund Ma ield Valley Arts Trust Yor Early Music Festival York Mystery Plays Archive EEEmer ing+ Arts& ellbeing Fund IYAC Donation Famil Friendly Donation BBC Kew Generation Fund Young ArtFsls Fund 12.320 30.401 1,336,775 84.447 10,676 26.631 28,841 14,949 700 9,592 12,064 7,761 103,923 (10.676) 15,955 8,088 16,012 1,600 8.204 14,758 2,929 98,183 1,457 (20,753 (6,400 (100 (16,388 {1.943 39,707 16.203 {1,043 (44,256 {1,050 7,463 1,000 15,000 4,637 34.875 10.463 2,500 51.886 2,500 14.211 1,050 6,000 10,412 22,233 31,472 (21,841) 2,500 6.000 10,412 20,733 63,333 1,000 10,020 (2,500) 21,841 Tolal Restricted Funds 1,743,106 141,344 (193,064) 1,691,386 -39- THE YORK EARLY MUSIC FOUNDATION NOTES TO THE ACCOUNTS FOR THE YEAR ENDED 31 MARCH 2025 21. ANALYSIS OF CHARITY FUNDS (continued) The Iransfer of £7,243 (2024: £10,676) from the Arts Council Capital Programmes to the Fixed Assets Capital Grants Fund represents the Net Book Value of capital expendrture during 2024125 funded by the Arts Council Capital Programmes. The Property Fund represents restricted funding for Ihe resloration and conversion of the building and represents the net book value of the assets at the year end. The Capital Grants Fund represents capitalised equipment and instruments purchased from restricted funds and represents the net book value of the assets at the year end. The Capital Fund represents funding raised to improve the audience environmenl. further redu￿ the NCEM'S carbon footprint, and to improve the NCEM'S digital presence. Catalyst Artistic Fund consists of donations from individuals and supporters raised under the Arts Council Catalyst Programme and matched by the Arts Council. These funds are restricted for future artistic programming. I Can Play {York> represents funding from trusts, foundations and individual donations 10 SUPPOrt the NCEM'S music project for Dldeaf young people in York. The John MaNin Fund is to fund awards for excellence by members of Ihe Minster Minstrels. The Beverley Early Music (EM> Festival fund represents grants provided to support the festival. The NCEM Education Fund is for supporting musical activities involving students and young people. The Mayfield Valley Arts Trust Fund represents a grant to support NCEM'S Leaming and Participation Programme of musical aclivities involving students and young people. The Yor1( Early Music Festivals Fund relates to a grant from The York Early Music Festival after it ceased to operate as an independent organisation and transferred the administration to the NCEM. In 2023124 the National Centre for Early Music received a grant from the York Mystery Plays to administer the archive. The Arts and Wellbeing Fund represents funding awarded to the NCEM from a variety of trusts and organisations to support the NCEM'S programme of musical activities and research in the area of health and wellbeing. In 2018119 the NCEM re￿iVed a donation of £10,000 to fund the Family Friendly Programme. The BBC New Generation Fund represenls funding from individual donors to support the collaboration with the Royal College of Music and BBC Radio 3 on a UK-based project entitled '8BC Radio 3 New Generation Baroque Ensemble. the key goal of which is to support the ongoing professionalisation of a selected early music ensemble. The NCEM receives donations io support future programmes that the NCEM develops 10 SUPPOrt the careers of young artists. -40- THE YORK EARLY MUSIC FOUNDATION NOTES TO THE ACCOUltrs FOR THE YEAR ENDED 31 MARCH 2024 22. RELATED PARTY TRANSACTIONS Other than transactions with Trustees as set out in note 10, there have been no transactions with related parties. 23. COMPARATIVE CONSOLIDATED STATEMENT OF FINANCIAL ACTIVITIES Note Unrestricted Designated Restricted Total INCOME Donations & legacies Raising funds Charitable activities Investment income Other income 49,144 205,686 446,419 5.158 5,000 7.000 12,983 69.127 205.686 574.780 5,158 5,000 128,361 TOTAL INCOME 711,407 7,000 141,344 859,751 EXPENDrruRE Raising funds Charitable activities 86.743 623,237 86,743 817,474 1,173 193,064 TOTAL EXPENDITURE 709,980 1,173 193,064 904,217 NET INCOMEI(EXPENDITURE) FOR THE YEAR 1,427 5,827 (51,720) (44,466) FUNDS BROUGHT FORWARD AT 1 APRIL 2023 159,763 175,636 1,743,106 2,078,505 FUNDS CARRIED FORWARD AT 31 MARCH 2024 161,190 181,463 1,691,386 2,034,039 24. RESULTS OF THE YORK EARLY MUSIC FOUNDATION The Foundations. deficit for the year is £28,615 (2024". deficit of £44,464). The Foundation has not presented its own Statement of Financial Activities and Income and Expenditure Account as permitted by Section 408 of the Companies Act 2006. -41 THE YORK EARLY MUSIC FOUNDATION The following pages do noi form part of the siaiulory account -42- THE YORK EARLY MUSIC FOUNDATION DETAILED CHARITY ONLY INCOME AND EXPENDrruRE AccouKr FOR THE YEAR ENDED 31 MARCH 2025 2025 2024 DONATIONS & LEGACIES Donations (other) Subscriptions Gift Aid Legacies 56.884 3,027 11,603 5,000 35,560 3,565 23,002 7,000 76,514 69.127 OPERATING INCOME Chariiable actlvilies Arts council England, Yorkshire Annual rant 275.444 30.000 8,400 15,000 275,444 34,875 8,400 15,000 City of York Council East Riding of Yorkshire Council I Can Play Harrogate Deaf Society Ovingdean Hall Foundation Other income Cutture and Wellbeing: Purey Cust Trust S Ivia & Colin Shepherd Charitable Twst e Reed Foundalion Other income NCEM Education: York Music Hub Ronnie Scott's Charitable Foundaiion Other Rainbow Dickinson Trust The University of York EEEmergin International Young Artists Competition John Feldberg Foundation York Earl Music Festival Beverley Early Music Festival York Early Music Christmas Festival York Early Music Online Festivals NCEM Promotions 4,400 3,000 187 3,000 327 1,125 1,500 1,000 1,000 2,111 1,710 1,438 6,000 450 1,500 500 1,125 3,512 51,886 4,000 10,000 80,188 31,200 19,233 10,000 68,883 23.074 17,648 4,392 36,681 44.746 535,662 574,780 Raislng funds Other activities income Recording fees Bar sales Instrument & equipment hire Box offi￿ commission PRS income Hire of church Rental income 570 4,210 39,227 6,093 10,395 1,116 46,643 10,000 344 1,950 45,321 6,835 8,279 730 33,517 10,000 118,254 106,976 TOTAL OPERATING INCOME 730,430 750,883 8ank interest receivable York Early Music Enterprises Gift Aid Employment Allowance 6,943 48,907 5,000 5,158 68,495 5,000 TOTAL INCOME 791.280 829,536 THE YORK EARLY MUSIC FOUNDATION DETAILED CHARITY ONLY INCOME AND EXPENDrruRE AccoU￿r FOR THE YEAR ENDED 31 MARCH 2025 2025 2024 TOTAL INCOME 791,280 829,536 Charltable aclivities NCEM Promotions York Early Music Festival Beverly Early Music Festival York Early Music Christmas Festival York Early Music Online Festwals EEEmerging+ BBC New Generation Baroque Ensemble I Can Play Early Music Research NCEM Education Programme NCEM Composers Award York Mystery Plays Archive REMA Expenses Restricted Property Funds NCEM Young Artists Competition Arts & Health Programme Development Costs Audience Development Foreign Currency Movement 116,898 180,351 121,415 173,955 53,927 66,372 18,343 91,329 31,747 31,705 69,074 35,775 27,183 64,644 39,791 2,453 3,541 32,110 40,135 29,327 19,121 12,281 3,302 64,819 39,705 2,039 42,721 18,345 22,970 19,109 16,517 Direci charllable expendlture 760,634 817,472 Raising funds Marketing and promotion Business development Bar costs Costs associated with hire of church 16,206 3,964 24,693 14,399 14,241 3,640 27,073 11,573 59,262 56,528 TOTAL EXPENDITURE 819,896 874,000 NET INCOMEI(EXPENDrruRE) {28,614) {44,484)