## **Trustees' Annual Report for the period**
Period start date Period end date 01 04 2021 31 03 22
**To**
**From**
## Section A Reference and administration details
**Charity name Other names charity is known by Registered charity number (if any)** 1096150
## JOHN ARMITAGE MEMORIAL TRUST
JAM
**Charity's principal address**
55 Kempshott Road
London
**Postcode SW16 5LJ**
## **Names of the charity trustees who manage the charity**
|1
2
3
4
5|**Trustee name**|**Office (if any)**|**Dates acted if not for**
**whole year **|**Name of person (or body) entitled**
**to appoint trustee (ifany)**|
|---|---|---|---|---|
||EDWARD ARMITAGE|CHAIRMAN|WHOLE PERIOD||
||TIM JACKSON||“ “|TIM JACKSON|
||CHARLES COCHRANE||“ “|CHARLES COCHRANE|
||MARAH DICKSON-WRIGHT||“ “|MARAH DICKSON-WRIGHT|
||PATRICIA ROLFE||“ “|PATRICIA ROLFE|
**Names of the trustees for the charity, if any, (for example, any custodian trustees)**
|**Name**|**Dates acted if not for whole year**|
|---|---|
|AS ABOVE||
|||
|||
## **Names and addresses of advisers (Optional information)**
**Type of adviser Name Address**
**Name of chief executive or names of senior staff members (Optional information)**
**TAR**
March **2012**
1
**Section B Structure, governance and management**
## **Description of the charity’s trusts**
Type of governing document
TRUST DEED
- (eg. trust deed, constitution)
How the charity is constituted
TRUST
- (eg. trust, association, company)
Trustee selection methods
RECOMMENDATION AND RESOLUTION OF THE TRUSTEES
- (e.g., appointed by, elected by)
## **Additional governance issues (Optional information)**
You **may choose** to include additional information, where relevant, about:
- policies and procedures adopted for the induction and training of trustees;
- the charity’s organisational structure and any wider network with which the charity works;
- relationship with any related parties;
- trustees’ consideration of major risks and the system and procedures to manage them.
Advice and support from existing trustees and chairman.
JAM is overseen by its Trustees, with day-to-day management run by JAM Chairman Edward Armitage. Once a year, the JAM Panel meets to select music submitted for performance in the next season. Each year, the Panel and Trustees decide upon the season’s commission(s). The programming of concerts is coordinated by the Chairman & performers. JAM proactively seeks out likeminded organisations to work with in achieving its objects. By this collaborative approach all parties mutually benefit and most importantly the development of classical music in the UK.
JAM’s Kent based multi-arts festival, JAM on the Marsh, is programmed and coordinated by the Chairman in conjunction with the Curator (this is an invited role & can only be occupied by the same person for two years). The festival brings new audience into music by cross-pollinating interest/awareness from the multiarts programming.
Ongoing relationships include: BBC South East television, BBC Radio 3, BBC Radio Kent, BBC Singers, Canterbury Cathedral Choirs, 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.
**TAR**
March **2012**
2
## **Section C Objectives and activities**
To nurture and promote the development of classical music composition in the **Summary of the objects of the** UK **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. For 2021 JAM commissioned burgeoning composer Jack Oades’ evocative **Summary of the main** _Between the Stormclouds and the Sky,_ with libretto by renowned poet Grahame **activities undertaken for the** Davies. **public benefit in relation to these objects (include within** Typically, each year JAM promotes classical music within its vibrant JAM on the **this section the statutory** Marsh multi-arts festival in July, drawing awareness and interest from a broader **declaration that trustees have** catchment of the community, stimulating cross-pollination of audiences and, **had regard to the guidance** thus, appreciation of classical music composition through the performances. In **issued by the Charity** 2021, when Covid was still present, JAM delivered its festival within government guidelines, requiring audience to be temperature checked, wear face masks, be **Commission on public** guided to allocated seating and following a one-way system. Seating was **benefit)** limited to 50% capacity. JAM also recorded the festival, in October releasing 9 concerts and 6 exhibitions via YouTube. JAM on the Marsh: VIRTUAL enabled greater access and experience of classical music, overcoming barriers of age, income and disability. With 2020 submitted music still to be performed due to Covid, JAM did not run its annual Call for Music in Autumn 2020. Instead, throughout 2021 we ran a composers’ masterclasses and workshop series, culminating in one composer winning our first President’s Commission. This new activity supports our commitment to nurturing classical music in the UK. Sadly, with Covid on-going, it was not possible to run our film masterclass series or after-school singing clubs for primary schools on Romney Marsh. We were however delighted to host our March 2022 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.
## **Additional details of objectives and activities (Optional information)**
**TAR**
March **2012**
3
You **may choose** to include further statements, where relevant, about:
N/A
- policy on grantmaking;
- policy programme related investment;
- contribution made by volunteers.
N/A
Volunteer contribution was made via Zoom by Trustees, Panel members and Artistic Management. Due to Covid, JAM coordinated a team of local volunteers to deliver each events, responsible for temperature checking, mask wearing, guidance to allocated seating and one-way system. Marketing was reduced given the limited venue capacity as a result of social distanced seating.
## Section D Achievements and performance
**Summary of the main achievements of the charity during the year**
Usually from April JAM would continue its year-round, weekly educational activity with schools and local partners, developing arts skills and experiences in the typically under-resourced Romney Marsh. Sadly, Covid halted this in 2021.
In late April, Richard Peat committed to composing a large-scale community oratorio, involving primary school singers, secondary school musicians, amateur players, professional musicians and actors for premiere in JAM on the Marsh, originally planned for premiere in July 2022. Given the uncertainty of working with schools due to Covid and the schools having no singing tuition during the pandemic, it was agreed to delay the oratorio until July 2023. In early 2021, we were delighted to secure full funding for Richard Peat from a private donor, John Parke Wright. We were also delighted to receive Genesis Kickstart funding towards the virtual resource JAM will produce to support music education in schools and learning Richard Peat’s oratorio.
20 years of Calls for Music has shown the need for tuition in composing for organ and brass. In May, JAM launched its first composition masterclass series, for these forces, led by Francesca Massey, Organist and Director of Music at Rochester Cathedral and Onyx Brass. JAM produced a series of bite-size tutorial videos by Francesca and Onyx, as an online resource for composers, now and in the future, broadcast via YouTube. To date they have had 3,045 views and are still on line to watch and learn from. Following the masterclasses and promotion of our call for sketches, JAM received 12 organ sketches and 36 for brass. 6 were chosen for in-person, Covid-safely workshop in JAM on the Marsh on 13[th] July, with Paul Mealor, Onyx and Francesca. Planning 2021 Covid-cautiously, from 8-18 July JAM on the Marsh (JOTM) achieved our aims of high quality, new (work/approach) & education. Following strict audience Covid-safety guidelines, 2021 delivered diverse, creative journeys for artists, increased audience engagement as well as participation & community creativity. Ambitious, inspirational programming, delivered through live events and digitally drew 23006 audience & 6.2 million media reach via TV, radio, press, digital & social media. JOTM live brought inspirational local & visiting artists, to the arts deprived rural Romney Marsh (SE Kent) in Covid conditions, bringing £30000 into the lowincome economy. Created by new Curator Anna Tilbrook, JOTM debuts included outstanding artists James Gilchrist, Lesley Garrett, Michael Collins, Kosmos Ensemble & Canterbury Cathedral Choir. Returning artists included Changeling with A Midsummer Night’s Dream; Michal Rogalski (oboe) & Fabio Fernades (guitar) Latin performance & Yuanfan Yang’s vibrant piano recital. With this mix, at 50% capacity & socially distanced, nearly all events were sold out drawing returning & new audience. Covid safety procedures by local volunteers ensured safety & a friendly buzz at each event.
**TAR**
March **2012**
4
## Section D Achievements and erformance p
|Festival Commission_Between the Stormclouds and the Sea,_by Jack Oades,|
|---|
|with Grahame Davies’ text inspired by the Marsh community, was premiered by|
|Caritas Choir. Performing our 2003 commission_The Far Theatricals of Day_by|
|Jonathan Dove & 2010 commission by Paul Mealor_Now Sleeps the Crimson_|
|_Petal,_with Onyx Brass & soloists, delivered our commitment to new UK music|
|over 3 decades.|
|During the festival, 5 of the 6 composers from our choir and brass masterclasses|
|series came to Hythe for highly stimulating and developmental workshops with|
|Francesca Massey and Onyx Brass, led by Professor Paul Mealor. With|
|learnings from the workshop the composers the completed pieces for|
|performance at St Brides Church, London on 13thOctober.|
|Covid prevented our weekly schools singing & Children’s Sunday. When|
|regulations relaxed just in time for the festival, JAM coordinated 2 inspirational|
|workshops for the 3 local schools; world music of Kosmos Ensemble for KS2 &|
|London Mozart Players’ lead violinist Ruth Rogers + her son performing|
|Ferdinand the Bull to KS1, delighting 575 children. These workshops also|
|rekindled JAM’s relationships with the schools for future collaboration.|
|Jon Foreman created a striking sculpture trail outside 5 Marsh churches. JOTM|
|included 6 exhibitions of photography, sculpture, cyanotype & print, in local|
|community spaces including the carriages of the Romney Hythe & Dymchurch|
|steam railway, Leisure Centre & Visitor Centre; art in unexpected places &|
|outside &/or where people could Covid-safely go without crowding. Cyanotype|
|workshops further boosted local creativity and engagement.|
|On 13thOctober at St Bride’s Church, Fleet Street the 6 masterclass|
|compositions were premiered by Francesca Massey and Onyx Brass, with a live|
|audience. Janet Wheeler’s_Film Noir_won the first President’s Commission, to|
|be premiered in March at St Brides.|
|_“This has been such a brilliant opportunity to compose for a combination I’ve not_|
|_written for before. I’ve found it enormously instructive, and the chance to work_|
|_with Onyx Brass is really invaluable.”_Janet Wheeler|
|9 concerts & exhibitions from live JAM on the Marsh were professionally filmed &|
|released as JOTM: VIRTUAL from 22ndOctober – 19thNovember, driving public|
|access & benefit, locally & nationwide.|
|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’.|
|_“First JAM concert. Very enjoyable. Excellent & varied programme. Covid risk_|
|_handled v efficiently. So good that you feature new music. We SHALL return.”_|
|_(Newcomer, Deal)_|
|_“The JAM Festival is a wonderful initiative and highly valued, it brings new_|
|_music, art and theatre to Romney Marsh which is hugely appreciated. It also_|
|_brings a wider audience to the stunning churches in the locality. Those taking_|
|_part often experience this beautiful part of Kent for the first time and leave_|
|_enriched and looking forward to their next visit. “_|
|_“The mix of old & new music is wonderful.”_|
|_“What a treat! and two composers attending. A spellbinding choice of items with_|
|_a first performance (we absolutely loved the McDowall) and the chance to hear_|
|_Ben Goldscheider whom we had admired in the Young Musician Final. Very_|
|_impressive. Thank you to all involved.”_|
|_“It was an incredible evening (Oades premiere). Great care taken ref social_|
|_distancing etc. A wonderful first post lockdown experience.”_|
|_“Very high standard of music. Not "run of the mill.” Brilliant.”_|
|_“LMP_
_great_
_concert_
_especially_
_Cecilia’s_
_new_
_piece_
_…_
_Melaor_|
|_concert...wow...Great to hear Dove piece live.”_|
|_“The Paul Mealor concert was exceptional. I have always enjoyed them but this_|
|_was truly the best ever. I introduced a friend to JAM and this concert and she_|
|_was absolutely blown away.”_|
**TAR**
March **2012**
5
## Section D Achievements and erformance p
_“As ever, very enjoyable concerts on 'old' and 'new' music which exceeded my expectations which rise every year.”_
_“I thoroughly enjoyed being able to access the music of the festival - it was impossible for me to attend live. It has inspired me to attend the festival in 2022.”_ (First JOTM festival, Leicestershire) _“I have watched the premiere of Stormclouds + other VIRTUAL events & am loving them. We definitely want to be there for 2022, Covid permitting.”_ Alberta, Canada Paul Mealor’s _Piano Concerto_ (2020) was a co-commission with North Wales International Music Festival. The postponed 2020 performance was filmed and broadcast on 4[th] November 2021. In the new year, JAM resumed after-school singing in Marsh primary schools led by vocal tutor Rebecca Lodge and film education in collaboration with Screen South. On 23[rd] March 2022, JAM was delighted to host Music of our Time at St Bride’s Church, Fleet Street to perform at last the works submitted to its 2020 Call for Music and Janet Wheeler’s President’s Commission. The Chapel Choir of Selwyn College, Cambridge, Onyx Brass, Simon Hogan (organ) and tenor soloist Mark LeBrocq, narrator Jane Shearsmith, conducted by Michael Bawtree gave the performance. The programme included works submitted by Philip Lancaster, Christopher Best, Kathryn Rose, Richard Peat, Will Harmer, the world premiere of _Up In The Morning Early_ by Janet Wheeler and the London premiere of Jack Oades _Between the Stormclouds and the Sea_ . Also at this concert, Paul Mealor, JAM’s President, gave the first President’s Award to Sarah McDonald, Director of Music at Selwyn College, Cambridge, recognising her long dedication and support of JAM since 2002. JAM also announced the next phase of the masterclass series; choral composition in collaboration with world-class vocal ensemble VOCES8. In 2021, JAM achieved 6million 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. Of JAM’s audience over this financial period, 30% were new to JAM. 5% of the March audience were new to contemporary music, 15% were new to contemporary music at the festival. As well as JAM’s commitment to commissioning, these newcomers to JAM and new music confirm our achievement to nurture the future of composition. In conclusion, by being prudent and responsible, JAM has continued its commitment to nurturing and promoting the development of classical music composition in the UK, reaching many new people. JAM gave the world premiere of its commissions, Jack Oades’ _Between the Stormclouds and the Sea_ , reaching audience across the UK and worldwide. JAM also awarded and performed Janet Wheeler’s President’s Commission _Up In The Morning Early_ . 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 2021 – March 2022, with complex budgeting and financial monitoring, JAM has successfully raised sufficient funds and managed expenditure that at year-end it carries through £95,164 into the 2022/23 season.
## **Section E Financial review**
**Brief statement of the**
To monitor regularly and remain in credit. Unrestricted funds as at 31.03.22 were £95,164.
**TAR**
March **2012**
6
**charity’s policy on reserves**
**Details of any funds materially in deficit**
## None
## **Further financial review details (Optional information)**
You **may choose** to include additional information, where relevant about:
- the charity’s principal sources of funds (including any fundraising);
- how expenditure has supported the key objectives of the charity;
- investment policy and objectives including any ethical investment policy adopted.
Ticket Sales, Arts Council England, Kent County Councillors, National Lottery Community Fund, PRS, Orchestras Live, Kent Wildlife Trust, Private Trusts/Foundations including Colyer Fergusson Charitable Trust, Roger de Haan Charitable Trust and Kent Community Foundation, performance partners, JAM Annual Supporters, Gift Aid and In-Kind.
Expenditure has enabled JAM to commission Jack Oades, deliver JAM on the Marsh including the Oades’ world premiere + 13 additional concerts, deliver a new masterclasses series and release JAM on the Marsh: VIRTUAL. JAM featured music from 24 living composers, 31 contemporary works including 14 world premieres, collaborated with 147 high quality musicians as we carefully perform again to live audiences. 2020/21 expenditure has enabled JAM to bring new music to 6.2 million people across the UK and worldwide, 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.
## **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**
## **Signature(s)**
## **Full name(s)** EDWARD ARMITAGE
**Position (Secretary, Chair, etc)** CHAIR
Date: 10/08/22
**TAR**
March **2012**
7
||**Charity Name: John Armitage Memorial Trust**|**Charity Name: John Armitage Memorial Trust**|**Charity Name: John Armitage Memorial Trust**|**Charity Name: John Armitage Memorial Trust**|**Charity Name: John Armitage Memorial Trust**|**No: 1096150**|**No: 1096150**|**No: 1096150**|**CC16a**|
|---|---|---|---|---|---|---|---|---|---|
||**For the period**
**from**||01/04/2021
Period start date||**To**||31/03/2022
Period end date|||
|||||||||||
|**Section A Receipts and payments**||||||||||
|**A1 Receipts**|**Unrestricted**
**funds**
**to the nearest**
**£**
**174,082**
**20,925**
**296**
**2**
**-**
**-**
**-**
**-**
**195,305**
**-**
**-**
**-**
**195,305**
**90,549**
**21,866**
**54,332**
**-**
**-**
**-**
**-**
**-**
**-**
**166,747**
**-**
**-**
**-**
**166,747**
**28,558**||**Restricted**
**funds**
**to the nearest £**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**||**Endowment**
**funds**
**to the nearest £**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**||**Total funds**
**to the nearest £**
**174,082**
**20,925**
**296**
**2**
**-**
**-**
**-**
**-**
**195,305**
**-**
**-**
**-**
**195,305**
**90,549**
**21,866**
**54,332**
**-**
**-**
**-**
**-**
**-**
**-**
**166,747**
**-**
**-**
**-**
**166,747**
**28,558**||**Last year**
**to the nearest £**|
|Donations|**174,082**||||||||**84,281**|
|Sales|**20,925**||||||||**576**|
|Gift Aid|**296**||||||||**9,806**|
|Interest|**2**||||||||**5**|
||**-**||||||||**-**|
||**-**||||||||**-**|
||**-**||||||||**-**|
||**-**||||||||**-**|
|**_Sub total_**(Gross income for AR)|**195,305**||||||||**94,668**|
|||||||||||
|**A2 Asset and investment sales,**
**(see table).**||||||||||
||**-**|||||||||
||**-**||||||||**-**|
|**_Sub total_**|**-**||||||||**-**|
|**_Total receipts_ **
**A3 Payments**||||||||||
||||||||||**94,668**|
|||||||||||
|
Production|**90,549**||||||||**45,417**|
|Marketing|**21,866**||||||||**7,099**|
|Administration|**54,332**||||||||**42,003**|
||**-**||||||||**-**|
||**-**||||||||**-**|
||**-**||||||||**-**|
||**-**||||||||**-**|
||**-**||||||||**-**|
||**-**||||||||**-**|
|**_Sub total_ **|**166,747**||||||||**94,519**|
|||||||||||
|**A4 Asset and investment**
**purchases, (see table)**||||||||||
||**-**|||||||||
||**-**|||||||||
|**_Sub total_ **|**-**||||||||**-**|
|**_Total payments_**
**_Net of receipts/(payments)_**
**A5 Transfers between funds**
**A6 Cash funds last year end**
**_Cash funds this year end_**||||||||||
||||||||||**94,519**|
|||||||||||
||**28,558**||**-**||**-**||**28,558**||**149**|
||**-**||**-**|
|**-**||**-**||**-**|
||£66,606||**-**||**-**||**66,606**||**66,457**|
||**95,164**||**-**||**-**||**95,164**||**66,606**|
## **Section B Statement of assets and liabilities at the end of the period**
|CAF Gold (savings account)
CAF Cash (current account)
Handelsbanken
**Details**
**_Total cash funds_**
1|**Unrestricted**
**funds**
**to nearest £**
**11,590**
**100**
**83,475**
**95,164**|**Restricted**
**funds**
**to nearest £**
**-**
**-**
**-**
**-**
|**Endowment**
**funds**
**to nearest £**|
|---|---|---|---|
|||**-**|**-**|
|||**-**|**-**|
||**83,475**|**-**|**-**|
||**95,164**|**-**|**-**
8/08/2022|
CCXX R1 accounts (SS)
|Signed by one or two trustees on
behalf of all the trustees
**B2 Other monetary assets**
**B4 Assets retained for the**
**charity’s own use**
**B5 Liabilities**
**B3 Investment assets**|Signature
**Details**
**Details**
**Details**
(agree balances with receipts and payments
account(s))
**Details**|OK
OK
**Unrestricted**
**funds**
**Restricted**
**funds**
**to nearest £**
**to nearest £**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**Fund to which**
**asset belongs**
**Cost (optional)**
**-**
**-**
**-**
**-**
**-**
**Fund to which**
**asset belongs**
**Cost (optional)**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**Fund to which**
**liability relates**
**Amount due**
**(optional)**
**-**
**-**
**-**
**-**
**-**
Print Name
EDWARD ARMITAGE|OK|
|---|---|---|---|
||||**Endowment**
**funds**
**to nearest £**|
||||**-**|
||||**-**|
||||**-**|
||||**-**|
||||**-**|
||||**-**|
||||**Current value**
**(optional)**|
||||**-**|
||||**-**|
||||**-**|
||||**-**|
||||**-**|
||||**Current value**
**(optional)**|
||||**-**|
||||**-**|
||||**-**|
||||**-**|
||||**-**|
||||**-**|
||||**-**|
||||**-**|
||||**-**|
||||**When due**
**(optional)**|
|||||
|||||
|||||
|||||
|||||
|||||
||||Date of
approval|
|||EDWARD ARMITAGE|10/08/2022|
|||||
CCXX R2 accounts (SS)
18/08/2022
2
CHARITY COMMISSION
FOR ENGLAND AND WALES
Independent examiner's
report on the accounts
Sectlon A
Independent Examlner's Report
Report to the trusteesl
members of
JOHN ARMITAGE MEMORIAL TRUST
On accounts for the year
ended
31 MARCH 2022
Charity no
{if any)
1096150
Set out on pages
1 &2
I report to the trustees on my examination of the accounts of the above
charity {"the Trust"} for the year ended 31 March 2022.
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").
I 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, I
have followed the applicable Directions given by the Charity Commission
under section 145{5}{b) of the Act.
I have completed my examination. I confirm that no malerial matters have
come to my attention (other than that disclosed below "l in connection with
the examination which gives me cause to believe thal in, any material
respect..
accounting records were not kept in accordance with section 130 of
the Act or
the accounls do not accord with the accounting records
Independent
examiner's statement
I 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 Ihe accounts to be reached.
Pl8as8 delete the words in the brackets if they do not apply.
Slgned:
Date:
OE
lol
Name:
NICHOLAS DODD, BA, BFP, FCA
Relevant professional
qualification(s) or body
lif any):
ICAEW
Address:
HUGHES WADDELL, THE WHITE HOUSE
2 MEADROW, GODALMING
SURREY, GU7 3HN
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