## **Trustees' Annual Report for the period** Period start date Period end date 01 04 2023 31 03 24 **From** **To** ## Section A Reference and administration details **Charity name** JOHN ARMITAGE MEMORIAL TRUST **Other names charity is known by** JAM **Registered charity number (if any)** 1096150 **Charity's principal address** 55 Kempshott Road London **Postcode SW16 5LJ** ~~—~~ **Names of the charity trustees who manage the charity Dates acted if not for Name of person (or body) entitled Trustee name Office (if any) whole year to appoint trustee (if any)** 1 EDWARD ARMITAGE CHAIRMAN WHOLE PERIOD 2 CHARLES COCHRANE “ “ CHARLES COCHRANE 3 MARAH DICKSON-WRIGHT “ “ MARAH DICKSON-WRIGHT 4 TIM JACKSON “ “ TIM JACKSON 5 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** 1 March **2012** March **2012** **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; - Advice and support from existing trustees and chair. - JAM is overseen by its Trustees, with day-to-day management run by JAM Chair Edward - • the charity’s Armitage. Once a year, the JAM Panel selects music submitted for performance in the next organisational season. Each year, the Panel and Trustees decide upon the season’s commission(s). The structure and any programming of concerts is coordinated by the Chair & performers. JAM’s President, wider network with internationally recognised composer Paul Mealor, has an honorary role, introducing at which the charity events, involved with JAM’s composers’ development and promoting JAM’s profile within the industry. As approved by the Trustees in Spring 2024, after JAM on the Marsh 2024 John - works; Hudson will be promoted to Artistic Director so running JAM day-to-day, with Edward’s - • relationship with any guidance. Edward will remain Chair and become JAM on the Marsh Curator for 2025-2026 related parties; continuing a close artistic and management relationship with John. JAM proactively seeks out like-minded organisations to work with in achieving its objects. By this collaborative - • trustees’ approach all parties mutually benefit and most importantly the development of classical consideration of music in the UK. major risks and the system and JAM’s Kent based multi-arts festival, JAM on the Marsh, is programmed and coordinated by procedures to the Chair in conjunction with the Curator (this is an invited role & can only be occupied by the manage them. same person for two years). The festival brings new audience into music by cross-pollinating - JAM’s Kent based multi-arts festival, JAM on the Marsh, is programmed and coordinated by the Chair 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 multi-arts 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, Southbank Centre, Gulbenkian, Barbican and Hythe, North Wales, Rye, Peasmarsh and Stour Festivals. To manage risk, the Trustees and Chair meet regularly to post evaluate recent activities, assess reserves and approve future activities and expenditure. **TAR** March **2012** 2 ## **Section C Objectives and activities** ## **Summary of the objects of the charity set out in its governing document** To nurture and promote the development of classical music composition in the UK ||**Objectives and activities**| |---|---| ||To nurture and promote the development of classical music composition in the UK| |**Summary of the main**
**activities undertaken**
**for the public benefit**
**in relation to these**
**objects (include**
**within this section the**
**statutory declaration**
**that trustees have had**
**regard to the**
**guidance issued by**
**the Charity**
**Commission on**
**public benefit)**|Each year, JAM commissions a piece from an established British composer. For 2023,
JAM commissioned_The Sky Engine_from burgeoning composer Richard Peat. JAM also
commissioned James Aburn as composer to Changeling Theatre, writing scores for both
of its summer 2023 productions, performed throughout its 40-performance tour, including
JAM on the Marsh. 2023 also premiered JAM Festival Commission_Evening Star_by
Christopher Churcher, resulting from 2022’s Composers’ Masterclass series.
In addition, composers from UK colleges/universities and early-career composers are
invited to submit works to JAM. A selection of submissions are promoted and performed
in JAM’s season launch concert, Music of our Time, in March at St Bride’s Church, Fleet
Street, London. This is performed by highly skilled professional and amateur musicians.
Following the success of its second Composers’ Masterclass series in 2022, in 2023 JAM
evolved its nurturing of next generation composers into a Composers’ Residency in JAM
on the Marsh. This focussed on writing for strings, in collaboration with the Sacconi
Quartet. To nurture writing skills, short ‘how to’ videos are recorded and released on
YouTube.
For the composers and performers, involvement with JAM is a rich forum for development
for a career in music-making. Over any given year, JAM works with approximately 150
musicians and 15 composers, nurturing skills, experience and careers. These activities
support our commitment to nurturing classical music in the UK.
Nurturing community skills, interwoven with its multi-arts festival, JAM resumed year-round
arts education across Kent’s Romney Marsh culminating in events in JAM on the Marsh.
Each year JAM promotes classical music within its vibrant JAM on the Marsh multi-arts
festival in July, drawing awareness and interest from a broader catchment of the
community, stimulating cross-pollination of audiences and, thus, appreciation of classical
music composition through the performances. JAM also records highlights from the
festival, in the Autumn releasing concerts and exhibitions via YouTube. JAM on the
Marsh: VIRTUAL enables greater access and experience of classical music, overcoming
barriers of age, income, travel and disability.
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, Peasmarsh, Rye and Stour as
well as like-minded arts organisations including Southbank, Gulbenkian, Hastings
International Piano Concerto Competition and Hastings Contemporary. JAM also
maintains a good relationship with BBC Rado 3 for promotion and broadcast of its music.
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 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)** You **may choose** to include further statements, where relevant, about: • policy on N/A **TAR** March **2012** 3 grantmaking; - policy programme related investment; N/A Volunteer contribution by Trustees and Panel members was made via Zoom, with a • contribution made Trustees meeting in person in March 2024. JAM coordinated a team of local volunteers to by volunteers. deliver Music of our Time and JAM on the Marsh events. ## Section D Achievements and performance 23 years of Calls for Music has shown the need for tuition in composing. Following the well- **Summary of the** received Writing for Brass and Organ in 2021 and Choral Writing in 2022, in 2023 JAM **main achievements** extended its commitment to composers’ development by launching a Composers’ **of the charity during** Residency programme. Our first Residency focused on writing for strings, in collaboration **the year** with well-respected Sacconi Quartet. Short ‘how to’ videos by the Sacconi’s were uploaded onto JAM’s YouTube channel. Sketches were submitted in the late Spring with 4 composers chosen by the mentors. The Residency ran daily in JAM on the Marsh (4-16 July). Mentors included distinguished composers Gabriel Jackson and Paul Mealor and leader of the London Mozart Players, Ruth Rogers. The Residency culminated in Jago Thornton winning our third President’s Commission. To date JAM’s online tutorials have had over 15,000 views worldwide and remain on line to watch and learn from. From April JAM resumed its year-round, weekly educational activity with people of all ages and local partners, developing arts skills, creativity and experiences in the typically underresourced Romney Marsh. _The Sky Engine_ , JAM’s 2023 commission by Richard Peat with libretto by Timothy Knapman, is JAM’s largest commission, bringing together a broad, diverse community of all ages and abilities, from all backgrounds, to benefit from this poignant, significant work about climate change. This activity, whilst developing creativity and experiences on the Marsh, also continues a connection with JAM beyond the festival, helping to draw audiences to JOTM. After-school singing in Brookland and New Romney primary schools on Romney Marsh were led by past BBC Singer Rebecca Birkebaek-Lodge, learning _The Sky Engine_ . Coordinated by JAM, _The Sky Engine_ involved community players from aged 8-74 playing alongside inspirational London Mozart Players. The community were committed and thrived in performing with LMP. From 10[th] July, Michael Bawtree led rehearsals, bringing together the primary schoolchildren, Canterbury Cathedral Choir, the community players, LMP, a soprano and bass and a narrator, culminating in the vibrant world premiere of _The Sky Engine_ in JAM on the Marsh (JOTM) to delighted parents and general public. The positive feedback from the community players and LMP has inspired launching a Festival Orchestra 2024. From 4-16 July JOTM achieved our aims of high quality, new (work/approach) & education. 2023 delivered diverse, creative journeys for artists, increased audience engagement, community participation and creativity. Ambitious, inspirational programming, delivered through live events and digitally drew 21,386 audience & 6 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), bringing £44,000 into the low-income economy. Curated by Nicholas Cleobury, in addition to _The Sky Engine_ , JOTM enriched the cultural landscape with a further 28 events, exhibitions and workshops. Nearly all were sold-out, including jazz with the Joe Stilgoe Trio, tango with world-class guitarist Craig Ogden, a Noel Coward pub lunch talk and songs, Kent-based Sacconi Quartet (strings), 2 productions by Changeling Theatre with JAM commissioned music by James Aburn and 4 exhibitions. JOTM24 cross-pollinated audience, igniting inspirational, memorable experiences. Giving performance opportunity to outstanding emerging professional players, JAM continued its talent development programme; JAM Sinfonia gave a stunning JOTM concert of 3 French greats; Debussy, Poulenc and Berlioz, joined by Glyndebourne’s Hanna Hipp. **TAR** March **2012** 4 Section D Achievements and erformance p _“JAM on the Marsh brings back-to-back new thrilling experiences, often of music I haven’t heard before but I know with JAM it will be fantastic.”_ (JOTM 2023) 12 performances and 4 exhibitions from JOTM were professionally filmed & released as JOTM VIRTUAL from 1-10 September driving public access & benefit, locally & worldwide. “ _JOTM VIRTUAL opens up my world. I can’t get to music due to disability so I love this_ .” In Spring 2024, JAM completed the filming and editing of the virtual resource to support music education in schools, funded by Genesis Kickstart. Mastering will be finished shortly after which it will be promoted and made available to schools. From 19-26 March JAM ran its first Big Give Arts for Impact crowdfund campaign, successfully raising £10,000 towards the launch of the JAM Festival Orchestra; a free-toparticipate initiative providing a unique opportunity for under-served Romney Marsh community players, of all ages and backgrounds, to perform alongside the London Mozart Players in JOTM 2024. On 20 March, JAM hosted Music of our Time at St Bride’s Church, London, showcasing 10 pieces, all world or regional premieres. The Chapel Choir of Selwyn College, Cambridge, Onyx Brass and Simon Hogan (organ) performed, conducted by Michael Bawtree. The programme featured the world premiere of _Illumination_ by Isabelle Ryder, winner of JAM’s 2023 President’s Commission and JAM’s 2010 commission, _The Night’s Untruth_ by Tarik O’Regan. The works were performed with pieces by eight successful submitters, championing music from the diversity of next generation of UK composers: Toh Yan Ee, Steve Richer, Donald Wetherick, Marisse Cato, George W. Parris, Anselm McDonnell, Christopher Churcher and Jonathan Woolgar. Also at this concert, Paul Mealor, JAM’s President, gave the President’s Award to Susan Pilcher, recognising her long-standing volunteer dedication in photographing and helping to deliver JAM events. JAM also announced the next Composers Residency; opera composition in collaboration with Royal College of Music. JAM’s programming continues to inspire audiences to give new music a go, supporting our object ‘to nurture and promote the development of classical music composition in the UK’. _“Loved the London Mozart Players - great balance with well-known pieces in first half and something new and more stretching in the second. It was so exciting to hear the premiere of The Sky Engine also with LMP and local players. The quality of both events superb - great to experience and to be able to access high quality live classical music on Romney Marsh.” “I always thought it (new music) wasn't my thing but I really enjoyed it.” (_ JAM on the Marsh) _“JAM on the Marsh online was a wonderful light in the darkness of 2020 - I had never come across JAM before. I can’t travel the distance to visit; a big thank you for the new and familiar music each year in VIRTUAL.” “JAM showcases and facilitates new contemporary choral music, providing a unique opportunity for composers and performers, and audiences.”_ St Brides _“Through JAM, I have come to new classical music late in life; I just love hearing the variety of compositions and exquisite playing. JAM has made a huge difference to me.”_ St Brides In 2023, JAM reached 6 million people via events, BBC South East tv, Radio 3 and BBC Radio Kent, regional press coverage, extensive digital and social media, achieving strong audiences to all its events. JAM also ran a postcode targeted direct mail campaign with Royal Mail, which successfully drove audience to 21,386 from 17,378 in 2022. Of JAM’s audience, 48% were new to JOTM and 37% were new to JAM London. 10% of JOTM were new to contemporary music and 16% of the March audience. 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 its reputation of high quality and interesting programming, JAM has continued its commitment to nurturing and promoting the development of classical music composition the UK, reaching many new people. JAM gave the world premiere of its commission by Richard Peat _The Sky Engine_ , reaching audience across the UK and worldwide. JAM also awarded and performed Isabelle Ryder’s _Illumination_ at St Brides with Jago Thornton’s commission to be premiered in JOTM 2024. Being on-line has given greater access and experience of our activity, overcoming barriers of age, travel, **TAR** March **2012** 5 Section D Achievements and erformance p going forward. through £63,377 into the 2024/25 season. **Section E Financial review Brief statement of** £63,377 ~~_~~ geography, income and disability. JAM has secured live and virtual audience to engage with going forward. Over April 2023 – March 2024, with complex budgeting and financial monitoring, JAM has successfully raised sufficient funds and managed expenditure that at year-end it carries through £63,377 into the 2024/25 season. To monitor regularly and remain in credit. Unrestricted funds as at 31.03.24 were **Brief statement of** £63,377 **the charity’s policy on reserves Details of any funds** None **materially in deficit Further financial review details (Optional information)** You **may choose** to include additional information, where relevant about: • the charity’s Ticket Sales, Arts Council England, National Lottery Community Fund, Orchestras Live, Big Give, Kent County Councillors, Private Trusts/Foundations including Colyer Fergusson principal sources Charitable Trust, Roger de Haan Charitable Trust and Kent Community Foundation, of funds (including performance partners, JAM Annual Supporters, Gift Aid and In-Kind. any fundraising); • how expenditure Expenditure has enabled JAM to commission Richard Peat, James Aburn, Christopher Churcher and Isabelle Ryder, deliver Music of our Time and JAM on the Marsh. This year has supported the included the world premieres of these commissions + 14 additional concerts, the launch of key objectives of our Composers’ Residency and release JAM on the Marsh VIRTUAL. JAM featured music the charity; from 20 living composers, 23 contemporary works including 15 premieres and collaborated • investment policy in performance with 181 high quality musicians. 2023/24 expenditure has enabled JAM to bring new music to 6 million people across the UK and worldwide, supporting its objective to and objectives nurture and promote the development of classical music composition in the UK. including any ethical investment With careful research, JAM invests in composers and musicians who are innovative, policy adopted. inspiring and deliver high quality results. JAM encourages involvement of all ethnicities, ~~_~~ socio-economic groups, abilities and ages. ## **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: 15/8/24 **Section F Other optional information** **TAR** March **2012** 6 |**Charity Name: John Armitage Memorial Trust**|**No: 1096150**| |---|---| |**Receipts and payments accounts**|| ## **CC16a** |**For the period**
**from**|01/04/2023
Period start date|**To**|31/03/2024
Period end date| |---|---|---|---| |**Section A Receipts and payments**|| |---|---| |**Unrestricted**
**funds**
**Restricted**
**funds**
**Endowment**
**funds**
**Total funds**
**Last year**|| |**to the nearest**
**£**
**to the nearest £**
**to the nearest £**
**to the nearest £**
**to the nearest £**|| |**A1 Receipts**|| |Donations
**154,717**
**-**
**-**
**154,717**
**141,890**
Sales
**40,636**
**-**
**-**
**40,636**
**27,895**
Gift Aid
**9,112**
**-**
**-**
**9,112**
**7,225**
Interest
**127**
**-**
**-**
**127**
**87**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**_Sub total_**(Gross income for AR)**204,593**
**-**
**-**
**204,593**
**177,097**
~~=—======~~|| |**A2 Asset and investment sales,**
**(see table).**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**_Sub total_ -**
**-**
**-**
**-**
**-**
**_Total receipts_ 204,593**
**-**
**-**
**204,593**
**177,097**
**A3 Payments**
Production
**114,406**
**-**
**-**
**114,406**
**111,109**
Marketing
**44,570**
**-**
**-**
**44,570**
**36,636**
Administration
**59,394**
**-**
**-**
**59,394**
**47,361**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**_Sub total_ 218,370**
**-**
**-**
**218,370**
**195,106**
~~SS S55=~~
~~===~~|| |**A4 Asset and investment**
**purchases, (see table)**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**_Sub total_ -**
**-**
**-**
**-**
**-**
**_Total payments_**
**218,370**
**-**
**-**
**218,370**
**195,106**
**_Net of receipts/(payments)_**
**- 13,777**
**-**
**- - 13,777**
**- 18,009**
**A5 Transfers between funds**
**-**
**- -**
**-**
**-**
**A6 Cash funds last year end**
**77,155**
**- -**
**77,155**
**95,164**
**_Cash funds this year end_**
**63,377**
**-**
**- 63,377**
**77,155**
**Section B Statement of assets and liabilities at the end of the period**
~~=~~
~~—~~
~~_=====~~|| |**Unrestricted**
**Restricted**
**Endowment**|| |**Categories**
**funds**
**funds**
**funds**
**Details**|| |**to nearest £**
**to nearest £**
**to nearest £**|| |**5,500**
**-**
**-**
**100**
**-**
**-**
**57,777**
**-**
**-**
**63,377**
**-**
**-**
CAF Gold (savings account)
CAF Cash (current account)
Handelsbanken
**B1 Cash funds**
**_Total cash funds_**
CCXX R1 accounts (SS)
1
26/09/2024
~~—~ ==~~|| ||(agree balances with receipts and payments| |---|---| ||OK
OK
OK
account(s))| ||**Unrestricted**
**Restricted**
**Endowment**| ||**funds**
**funds**
**funds**| ||**to nearest £**
**to nearest £**
**to nearest £**
**Details**| |**B2 Other monetary assets**|**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
~~===>~~| |**B3 Investment assets**|**Fund to which**
**asset belongs**
**Cost (optional)**
**Current value**
**(optional)**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**Details**
~~====~~| |**B4 Assets retained for the**
**charity’s own use**|**Fund to which**
**asset belongs**
**Cost (optional)**
**Current value**
**(optional)**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**-**
**Details**
~~====~~| ||**Fund to which**
**Amount due**
**When due**| |**B5 Liabilities**|**liability relates**
**(optional)**
**(optional)**
**-**
**-**
**-**
**-**
**-**
**Details**
~~===~~| |Signed by one or two trustees on
behalf of all the trustees|Date of
approval
15/08/2024
Print Name
EDWARD ARMITAGE
Signature
~~ee[~~| |CCXX R2 accounts (SS)|2
26/09/2024| CCXX R2 accounts (SS) ## **Independent examiner's report on the accounts** **Section A Independent Examiner’s Report** ## **Report to the trustees/** JOHN ARMITAGE MEMORIAL TRUST **members of** **On accounts for the year** 31 March 2024 **Charity no** 1096150 **ended (if any) Set out on pages** 1 to 8 I report to the trustees on my examination of the accounts of the above charity (“the Trust”) for the year ended 31 March 2024 ## **Responsibilities and basis of report** As the charity trustees of the Trust, you are responsible for the preparation 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. **Independent** I have completed my examination. I 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: - accounting records were not kept in accordance with section 130 of the Act or - the accounts do not accord with the accounting records 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 the accounts to be reached. **Signed: Date:** 15/08/2024 **Name:** Paul Heighes FCA ~~——————~~ **Relevant professional** ICAEW **qualification(s) or body (if any):** **Address:** Hughes Waddell The White House, 2 Meadrow Godalming, Surrey, GU7 3HN **October 2018** 1 **IER** **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** . **October 2018** 2 **IER**