2021-03-31-accounts - John Armitage Memorial Trust

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hapity ry OMMIssiON A

Trustees’ Annual Report for the period | 01Period start04 date (2020 |_ {31| Periodtts« en d* '03 date [24 | From | | — |\To) | |

section A

Reference and administration details

Charity name JOHN ARMITAGE MEMORIAL TRUST

Registered charity number (if any) |1096150

Charity's principal address |55 Kempshott Road

Names of the charity trustees who manage the charity

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|||||||||||| |---|---|---|---|---|---|---|---|---|---|---| |—"|Dates|acted|if|not|for|Name|of person|(or|body)|entitled| |1||EDWARD ARMITAGE|CHAIRMAN||WHOLEPERIOD||ss| |3||CHARLES COCHRANE|||CHARLES COCHRANE| |4|MARAHDICKSON-WRIGHT||=| ~~||MARAH DICKSON-WRIGHT| |5|| PATRICIA ROLFE|||PATRICIA ROLFE|

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Names of the trustees for the charity, if any, (for example, any custodian trustees) [NameSC[‘Dates][acted][if][ not][ for][ whole][year]

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Names and addresses of advisers (Optional information)
Type of adviser Name Address
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Name of chief executive or names of senior staff members (Optional information)

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March 2012

Section B Structure, governance and management

Description of the charity’s trusts

Type of governing document TRUST DEED
How the charity is constituted TREK PG. Tus Creation company) ‘Trustes exlention methods RECOMMENDATION AND RESOLUTION OF THE TRUSTEES

Additional governance issues (Optional information)

You may choose to include additional information, where relevant, about:

e policies and procedures Advice and support from existing trustees and chairman. adopted for the induction and training of trustees;
e Be ehariy! fie | JAM is overseen by its Trustees, with day-to-day management run by JAM the charity's organisationa Chairman Edward Armitage. Once a year, the JAM Panel meets to select music structure and any wider —= — —| submitted for performance in the next season. Each year, the Panel and Trustees network with which the charity decide upon the season’s commission(s). The programming of concerts is works; coordinated by the Chairman & performers. JAM proactively seeks out like-
° lationehie with isfad minded organisations to work with in achieving its objects. By this collaborative rated lis ob MEN EARLY Vere approach all parties mutually benefit and most importantly the development of parties; classical music in the UK.
° fe ee Pin peel JAM's Kent based multi-arts festival, JAM on the Marsh, is programmed and aie i d t y coordinated by the Chairman in conjunction with the Curator (this is an invited role PreeeGLres tO Manage & can only be occupied by the same person for two years). The festival brings
them. new audience into music by cross-pollinating interest/awareness from the multiarts programming.

Ongoing relationships include: BBC Radio 3, BBC Radio Kent, BBC Singers, Canterbury Cathedral Girls’ Choir, Changeling Theatre, Chapel Choir of Selwyn College Cambridge, Onyx Brass, London Mozart Players, Edinburgh Royal Choral Union, Screen South, Southbank Centre, Gulbenkian, Barbican and Hythe, North Wales, Rye, Peasmarsh and Stour Festivals.

The Trustees and Chairman meet to post evaluate recent activities, assess reserves and approve future activities and expenditure.

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March 2012

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section C Objectives and activities Summary of the objects of the le and promote the development of classical music composition in the charity set out in its , governing document Each year, JAM commissions a piece from an established British composer. In addition, composers from UK colleges/universities and early-career composers are invited to submit compositions to JAM. The commission and a selection of the pieces submitted are promoted and performed throughout the UK by highly skilled professional and amateur musicians; approximately 250 musicians in any year. For the composers and performers, involvement with JAM is a rich forum for development for a career in music-making. In order to draw in greater audience to new music, JAM often sympathetically programmes new music with the more familiar. This combination has proved very successful with audiences greatly enjoying the new works. Also, to engage greater audiences, JAM collaborates with festivals including Hythe, North Wales, Rye and Stour as well as like-minded arts organisations including Southbank, Gulbenkian, Hastings International Piano Concerto Competition and Hastings Contemporary. Through all its performances, JAM actively develops new audiences (live and broadcast) who benefit from new experiences and grow their appreciation of/education in new music. Overall, the positive experiences gained by all participants strive to achieve our object; to develop classical music composition in the UK. In its 20" anniversary year, for 2020 JAM commissioned Paul Mealor’s dramatic and evocative Piano Concerto. Also, JAM co-commissioned Rachel Fryer’s Variations Down the Line project, weaving 5 new works around Bach's famous Summary[of][the][main] Variations by UK composers including Nicola LeFanu and Michael Finnissy. activities undertaken for the Typically, each year JAM promotes classical music within its vibrant JAM on the public benefit in relation to Marsh multi-arts festival in July, drawing awareness and interest from a broader these objects (include within catchment of the community, stimulating cross-pollination of audiences and, this section the statutory thus, appreciation of classical music composition through the performances. In declaration that trustees have 2020, when so many events were cancelled or postponed due to the pandemic, had regard to the guidance: audience.JAM remainedAdheringpassionateto strictaboutgovernmentsupportingguidelines,classical JAMmusic,on theartistsMarsh:and issued by the Charity VIRTUAL broadcast 12 new events; 9 concerts including premieres of its 2020 Commission on public commissions and 3 stunning photography exhibitions. Enabling optimum benefit) access, the events were free to view, yet inviting donations. JAM on the Marsh: VIRTUAL achieved greater access and experience of classical music, overcoming barriers of age, income and disability. With 2020 submitted music still be performed due to Covid, JAM did not run its annual Call for Music in Autumn 2020. Instead, throughout 2021 we will run a composers’ masterclasses and workshop series. Over its 20 years of Calls for Music, JAM has recognised a need for composer tuition in organ and brass writing. This project responds to this and will be open to composers of all ages, from across the UK, encouraging a wide range of compositional styles. JAM will produce an online resource for composers, now and in the future. Where Covid halted our music education, a virtual Industry Day in October concluded the first year of our film education with Screen South and The Fifth Continent Landscape Partnership Scheme. Filmmakers, media, funders and public joined us on-line, celebrating our ambition to nurture creativity, skills and opportunity in the area and becoming aware of JAM’s multi-arts commitment. Sadly, with the UK still in lock-down and choirs under heavy restrictions, we had to postpone our March 2021 Music of our Time concert in London. In fulfilling their role, the trustees have had regard to the guidance issued by the Charity Commission on public benefit.

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March 2012

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Additional details of objectives and activities (Optional information)

You may choose to include further statements, where

relevant, about:

e policy on grantmaking: N/A e policy programme related N/A investment; e gs Via Zoom, Trustees, Panel members and Artistic Management. Due to Covid, contribution made by local marketing and staffing did not happen this year as festival events were volunteers. filmed adhering to strict Covid guidance and marketed digitally; see later detail. section D Achievements and performance[the][main] Summary[of] - Usually from April JAM would continue its year-round, weekly educational achievements . activity with schools and local partners, developing arts skills and experiences in during the yearof the charity the typically under-resourced Romney Marsh. Sadly, Covid halted this in 2020. When so many events were cancelled or postponed due to the pandemic, JAM remained committed to its charitable object of nurturing and promoting the development of classical music composition in the UK. Adhering to strict government guidelines, and overhauling the capability of our website, JAM on the Marsh: VIRTUAL broadcast 12 new events in July; 9 concerts from jazz, choral to orchestral by outstanding musicians including its 2020 commissions and 3 stunning photography exhibitions. Enabling optimum access, the events were free to view, yet inviting donations; £10,254 was donated, comparing well with past ticket sales. Through its expanded reach and Covid-perseverance, JAM attracted new annual supporters, increasing by 30%. Over the filming period JAM gave work experience to an emerging drama student and work experience to a local young cameraman. As confirmed by Google Analytics 2020/YouTube Insight 2020, our virtual festival was enjoyed by 17,248 people, up 6% year-on-year. 51% were new which shows positive reach of existing and new, vs 36% new in 2019. 82% of audience was in the UK, yet reaching the US, Australia, Middle East and China. A significant audience was in the South East of England, i.e.the festival upheld its ambition to benefit the Romney Marsh/South East Kent area. JAM on the Marsh: VIRTUAL has helped to drive the profile of the area as a leading destination for arts and culture, locally, nationally and beyond. “Well done for pushing yourselves and trail-blazing where others have failed. | have just enjoyed listening again to last night's wonderful concert; so uplifting during these dreadful Covid times.” (Romney Marsh) “Thank you all so much for putting on this festival of stunning music — you're a great discovery. Well done for bravely leading the way.” (Devon) “Beinga full-time carer, | can’t get out much. It was great to discover these events as | wouldn't have in a normal year.” (New to JAM, Romney Marsh) “| was thrilled with my experiences both at home alone and with others sharing special moments. | was disappointed not to be in the churches but pleasantly surprised at this new experience. The interaction was more rewarding than expected.” (New to JAM, Romney Marsh) “Loved it and hope to join you in person in 2021.” (New to JAM, Aberdeen) “| would never have got to the Marsh; sucha treat to visit from home.” (London) “Before | moved to Cumbria, | used to attend JAM every year. | have "attended" more than ever before. | have listened to concerts again and again. They have given me great joy and solace. Online allowed me to share a concert with my daughter and show my little grandchildren the wonderful sand art not so far from where they used to live. | am over 70 and live alone. It's been a difficult time and is about to get worse. JAM has given me a connection and a re-connection with TAR the past | thought was lost. And | have found something new and alive in it.” 4 March 2012

section D Achievements and performance

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JAM on the Marsh: VIRTUAL included:
e 3 photography exhibitions:
» Carsten Birkebaek’s drone photography of Jon Foreman’s astonishing
beach art in JAM on the Marsh 2019
>»> Susan Pilcher’s Confessions ofa Night Owl
Tristan Fewings’ Between the Sea and the Sky
e The Gesualdo Six: Passion and Polyphony
e Onyx Brass: Onyx Noir
e Rachel Fryer: Variations Down the Line |
e Organ Recital: Daniel Cook
e Fillu by Green Opera
e Rachel Fryer: Variations Down the Line II
e Rebecca Afonwy-Jones (mezzo) & Anna Tilbrook (piano)
e Fauré Requiem with The Gesualdo Six and London Mozart Players with new
poems by Grahame Davies reflecting the impact of the pandemic
e Paul Mealor Piano Concerto — World Premiere — John Frederick Hudson
(piano) and London Mozart Players
New, High Quality & Education remain core to JOTM, including world premieres |
by inspirational UK composers Paul Mealor, Nicola LeFanu, Michael Finnissy,
Samuel Barber, Julian Broughton and Alison Kay. Our events featured
outstanding artists including The Gesualdo Six, London Mozart Players, Onyx
Brass and Anna Tilbrook. This year JAM has enabled new works, nurtured
composers and artists and given performances to musicians and audience;
particularly significant when Covid has decimated the arts.
Through our programming, we have inspired audience that wouldn't consider
new music to give it a go, supporting our object ‘to nurture and promote the
development of classical music composition in the UK’.
“! would never have entertained an organ recital but this was brilliant.”
‘I don't normally enjoy new music but the two new pieces in this concert were |
stunning. The whole concert was superb and exhilarating.” |
“So much of this was new to me and| loved it.” |
In September, as one of the UK’s finest pianists, Anna Tilbrook took over :
curation of JAM on the Marsh for 2021-22, bringing exciting and innovative |
programming ideas and performers.
Paul |
Mealor’s Piano Concerto is a co-commission with North Wales International |
Music Festival. Sadly, due to Covid, NWIMF performance scheduled for |
September 2020 has been postponed to 2021. |
Despite Covid halting our music in schools across 2020, a virtual Industry Day in |
October concluded the first year of our film education with Screen South and |
The Fifth Continent Landscape Partnership Scheme. After 6 masterclasses with
professionals in early 2020, short films were submitted by emerging Kent/Sussex
filmmakers; all entries had to have a Marsh connection. The top 3 were
screened and industry-critiqued with Corinna Lewis’ The Stoneman announced
as the winner. We have built upon this first year with enhanced activity to
include practical days for 2021. Regarding music in schools, we have sourced a
local leader and will resume weekly music as soon as Covid permitted.
Since Autumn 2020, JAM has been planning an organ and brass masterclass
and workshop series. 20 years of Calls for Music have shown the need for
tuition in composing for these forces. Francesca Massey, Organist and Director
of Music at Rochester Cathedral and Onyx Brass will lead this education project,
open to open to composers of all ages, from across the UK. An organ
masterclass and one for brass will be filmed for free YouTube broadcast to the
composing community. Encouraging a wide range of compositional styles,
composers will be invited to submit sketches from which 3 organ and 3 brass
pieces will be selected for live workshop in JAM on the Marsh 2021. These
pieces will then be completed for performance in the Autumn with ...
5 March 2012
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section D Achievements and performance ... one composer winning a JAM commission for premiere in March 2022 in our Music of our Time concert in London. The masterclasses, housed on JAM’s website, will be a valuable compositional resource for composers now and in the future, supporting our commitment to nurturing classical music in the UK.

In 2020, anticipating £0 income due no ticket sales, JAM reduced marketing spend, focussing on PR, digital and social media working closely with agency Media in a Box. JAM achieved 6 million reach including BBC South East tv, Radio 3 and BBC Radio Kent, regional press coverage, extensive digital and social media, and a rare 4* Financial Times review, aiding 6% growth in total audience.

In conclusion, by being innovative and resilient, JAM has continued its commitment to nurturing and promoting the development of classical music composition in the UK, reaching many new people. During Covid, our expanded audience was uplifted, enjoyed being part of a daily festival and the quality of the productions. JAM gave world premieres of its commissions, Paul Mealor’s Piano Concerto and Variations down the Line with Rachel Fryer, reaching audience across the UK and worldwide. Being on-line has given greater access and experience of our activity, overcoming barriers of age, geography, income and disability. JAM has secured live and virtual audience to engage with going forward.

Over April 2020 — March 2021, with complex budgeting and financial monitoring, JAM has successfully raised sufficient funds and managed expenditure that at ear-end it carries through £66,606 into the 2021/22 season. Section E Financial review Brief To monitor regularly and remain in credit. Unrestricted funds as at statement of the 31.03.21 were £66,606 charity’s policy on reserves Details of any funds materially N in deficit sale Further financial review details (Optional information) You may choose to include additional information, where relevant about: Ticket Sales, Arts Council England, Kent County Councillors, National Lottery e the charity’s principal Community Fund, PRS, Orchestras Live, Kent Wildlife Trust, Private sources of funds (including Trusts/Foundations including Colyer Fergusson Charitable Trust, Roger de Haan any fundraising): Charitable Trust and Kent Community Foundation, performance partners, JAM , Annual Supporters, Gift Aid and In-Kind. e how expenditure has ofsupported the charity; the key objectives withExpenditureRachel Fryer,has enabledpromoteJAMandtoperformcommission9 concerts,Paul Mealorcontinueanditsco-commissionfilm education e project with Screen South, develop a new masterclasses series and adapt its investment policy and festival into JAM on the Marsh: VIRTUAL. JAM featured music from 14 living objectives including any composers, 25 contemporary works including 6 world premieres, collaborated ethical investment policy with 45 high quality musicians in a year when so much has been cancelled, with adopted. composers, musicians and audiences suffering as a result. In 2020/21 expenditure enabled JAM to bring new music to 6 million people across the UK, supporting its objective to nurture and promote the development of classical music composition in the UK. With careful research, JAM invests in composers and musicians who are innovative, inspiring and deliver high quality results. JAM encourages involvement of all ethnicities, socio-economic groups, abilities and ages.

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March 2012

Section F

Other optional information

Section G

Declaration

The trustees declare that they have approved the trustees’ report above. Signed on behalf of the charity’s trustees

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Signature(s)
O
iW Aka
Position (Secretary, Chair, etc)}| CHAIR Date: 22/6/21
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March 2012

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LS CHARITY COMMISSION FOR ENGLAND AND WALES

Independent examiner's report on the accounts

Section A

Independent Examiner’s Report

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Report to the trustees/ | ©)°!\y Name
members of |JOHN ARMITAGE MEMORIAL TRUST
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On accounts for the year | 31 MARCH 2021 Charity no | 1096150
ended (if any)
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| report to the trustees on my examination of the accounts of the above charity (“the Trust”) for the year ended 31 March 2021.

Responsibilities and As the charity trustees of the Trust, you are responsible for the preparation basis of report of the accounts in accordance with the requirements of the Charities Act 2011 (“the Act’).

| report in respect of my examination of the Trust’s accounts carried out under section 145 of the 2011 Act and in carrying out my examination, | have followed the applicable Directions given by the Charity Commission under section 145(5)(b) of the Act.

Independent | have completed my examination. | confirm that no material matters have examiner's statement come to my attention in connection with the examination which gives me cause to believe that in, any material respect:

e accounting records were not kept in accordance with section 130 of the Act or
e the accounts do not accord with the accounting records

| have no concerns and have come across no other matters in connection with the examination to which attention should be drawn in order to enable a proper understanding of the accounts to be reached.

Signed: Date: | Name: | NICHOLAS DODD, BA, BFP, FCA Relevant professional | ICAEW qualification(s) or body (if any): Address: |HUGHES WADDELL, THE WHITE HOUSE, 2 MEADROW, GODALMING, SURREY GU7 3HN

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Date: | 22 /06/20a\
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IER

October 2018

Section B

Disclosure

Only complete if the examiner needs to highlight matters of concern (see CC32, Independent examination of charity accounts: directions and guidance for examiners).

Give here brief details of any items that the examiner wishes to disclose.

IER

October 2018

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|||||||||| |---|---|---|---|---|---|---|---|---| |Cie}|FOR ENGLANDAND|WALES| |Receipts|and|payments|accounts|CC16a| |For the|period|Period|start|date|To|Period|end|date| |from|01/04/2020|31/03/2021| |Section A|Receipts|and|payments| |Unrestricted|Restricted|Endowment|Total|funds|Last year| |funds|funds|funds| |w—|to the nearest £|to the nearest £|to the nearest £|to the nearest £| |Ai|Receipts| |ee 2| |po|re| |linterest|9806} [||||[3,556]||| |ee|Se||ee||)es|eS || |po| (| (Ee fe Ct| |pO)|Ee) EE]| |esSub|eee||es |SS|| eee| |total (Gross|income forAR)|__—o,e6s]|[TTC| |A2|Asset|and|investment|sales,| |(see|table).| |aSubtotal||ey|| |Total receipts|04668]|[| [eek|seg]|||94,668|||164,026| |A3|Payments| |re| |AdministrationTa]|ee[CC eeCdCTSSC™~~“—~~~SSYTCESC“‘CS’¥|42,000‘||| |eeaee||ee|ee|2 |ee| |Ee|ee 0 a| |eeeee)||es |ES|ae| || | ||ee)| |pT SE) FE| |eeeSubtotal|_Ee94519]|es[EC ||GeS| 99|| |A4|Asset|and|investment| |purchases,|(see|table)| |aSub total|__es| |Net of|receipts/(payments)|ee |ee |ee)|17,561| |AGASTransfersbetweenfunds||{CT CC“|C™~“‘C‘CSLTCOCOC~C‘“(‘(C(CS~‘*Y| |Cash|funds|last|year|end|£66,457;{ Tt|66,457|48,896| |Cash funds|this|year|end|ee ||ees|66,606|66,457|

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CCXX R1 accounts (SS)

22/06/2021

Section B Statement of assets and liabilities at the end of the period Categories Details Unrestrictedfunds Restrictedfunds Endowmentfunds to nearest £ to nearest £ to nearest £ 100 | es |ee (agree balances with receipts and payments account(s)) Os OK OK Unrestricted Restricted Endowment funds funds funds Details to nearest £ to nearest £ to nearest £ — —— Details Fundasset to belongs which Costsh (opti | Currentoptional value — —<= ; Details Fundasset tobelongs which Cost vat (opnonal)(optional Currentoptional value B4 Assets retained for the Ls P| ; Details Fund to which Amount due When due - —=liability relates optional =optional Signed by one or two trustees on ‘ F Date of behalf of all the trustees Signature Print Name approval | O Leh UPRa EDWARD ARMITAGE 22/06/2021