OpenCharities

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

2021-03-31-accounts

Registered Company Number: 5988211 (England and Wales) Registered Charity Number: 1117211

REPORT OF THE TRUSTEES AND FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2021

FOR

ORCHESTRAS LIVE

CONTENTS OF THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2021

Page
Report of the Trustees 3
Report of the Independent Auditor 25
Statement of Financial Activities 28
Balance Sheet 29
Statement of Cash Flows 30
Notes to the Financial Statements 31

REPORT OF THE TRUSTEES FOR THE YEAR ENDED 31 MARCH 2021

The trustees, who are also directors of the charity for the purposes of the Companies Act 2006, present their report with the financial statements of the charity for the year ended 31 March 2021. The trustees have adopted the provisions of the Charities Statement of Recommended Practice (SORP) ‘Accounting and Reporting by Charities’ in accordance with the applicable Financial Reporting Standard FRS 102, effective January 2019.

INCORPORATION

The charitable company was incorporated on 3 November 2006 and commenced trading on 1 April 2007.

REFERENCE AND ADMINISTRATIVE DETAILS

Registered Company number

5988211 (England and Wales)

Registered Charity number

1117211

Registered Office

Duke Studios 3 Sheaf Street Leeds LS10 1HD

During the year a secondary administrative presence was retained at: The Music Base, Kings Place, 90 York Way, London N1 9AG

Trustees

David Bray Independent Education Professional Natalie Sarah Ellis Arts Manager (Cambridge University Hospitals) Catrin Mererid Griffiths Journalist Helen Elizabeth Harrison Conductor and Music Director Matthew Littlewood Investment Banker (Barclays) ^ Neil Mathur Management Consultant (EY) * Caroline Frances Maurice Governance and Compliance Consultant Suzanne Rolt Arts Manager (St George’s Bristol) Rebecca Jane Saunders Retail Consultant William Daniel Watson Communications Consultant Anthony David Stoller Broadcasting Academic * Joanne Claire Towler Arts Manager (Music in the Round, Sheffield) Simone Ellouise Willis Music Researcher and Employee of Cardiff University, Library Services

Company Secretary Nancy Buchanan

Chief Executive Sarah Derbyshire

Auditors

DNG Dove Naish LLP Eagle House 28 Billing Road Northampton NN1 5AJ

page 3

REPORT OF THE TRUSTEES FOR THE YEAR ENDED 31 MARCH 2021

OBJECTIVES AND ACTIVITIES

Our vision is that ‘Orchestras are for Everyone’ and that everyone has the opportunity to enjoy the life-enhancing benefits of orchestral music.

We are committed to engaging people of all ages and backgrounds, and particularly those in historically under-invested, non-metropolitan communities in England, in creating work that harnesses the transformative power of orchestral music to inspire, bring joy and support wellbeing.

Orchestras Live has been evolving for over 50 years. We believe that our work stands the best chance of success when it is founded on a listening culture; designed through consultation and collaboration with the diverse individuals and communities with whom we engage.

Our primary beneficiaries are audiences and participants i.e. those whom we engage with live orchestral experiences through projects, workshops and performances. Our coproductions develop new ways of presenting live orchestral experiences that bring people in their local communities together with professional orchestras to collaborate, co-curate and co-create new, live orchestral experiences. Our inclusive approach is central to ensuring that co-productions are relevant to the communities in which they are based, engage new audiences, respond to the needs of under-invested communities and drive innovation in the orchestral sector.

In turn, this work brings direct and distinctive benefits to our stakeholder partners: the country’s leading professional chamber and symphony orchestras, promoters (including venues both traditional and unexpected), local authorities, music education hubs (MEHs), academic institutions, Local Enterprise Partnerships (LEPs), Local Cultural Education Partnerships (LCEPs), community organisations, museums, libraries, public sector/cultural consortia, health and social care providers amongst others. Through their work in partnership with us they develop new models, reinforce their own organisations, support skills development within their workforce and jointly lead best practice in the orchestral sector to break down barriers where historic structural inequities have perpetuated barriers to access.

Our Objects, taken from the Memorandum and Articles of Association as incorporated 3 November 2006, are to:

page 4

REPORT OF THE TRUSTEES FOR THE YEAR ENDED 31 MARCH 2021

This report covers the third year of our Business Plan for 2018-22. We have maintained our status as a National Portfolio Organisation (NPO) of Arts Council England to 2021/22. In the light of the impact on NPOs of Covid-19, the Arts Council has extended the funding period for a further year and we are currently working on a new Business Plan for 2022/23 for their approval.

Our achievements in this third year of our current plan were shaped by the Covid-19 pandemic as the entire country was subject to a series of lengthy government-imposed lockdowns. Pre-planned activity was moved online where possible, postponed or in some cases cancelled. Although in-person activity was severely restricted, we continued to achieve our aims by creating bespoke programmes – many of them entirely online – which remained tailored to the aspirations of the partners with whom we work and the needs of their communities. The impact of the pandemic on our strategic, financial and operating context has been severe and will be reflected in our planning for future years.

As a thought leader in the orchestral sector, Orchestras Live is alive to innovations and their potential to drive positive change. We are prepared to break the mould and explore new ideas or practices – artistic, technological, societal, environmental, and organisational. Our response to Covid-19 has been agile; adapting and developing new ways of working in the new context. Looking ahead, we believe that the social and economic environment for communities and cultural activity will be permanently changed and that many of the innovations from this period will be adopted as key elements of our work.

OUR WORK DURING 2020/21

Public Benefit

The trustees have paid due regard to the Charity Commission’s guidance on public benefit in deciding what activities the charity should undertake, a summary of which is given below.

Whilst progress on planned activity for the year was significantly impacted by Covid-19, Orchestras Live has continued to play a vital role in bringing excellent orchestral music to culturally under-served audiences and communities throughout England.

By adapting and delivering work in alternative ways, Orchestras Live provided an agile response to the practical, cultural and social challenges presented by the pandemic and ensured that, wherever possible, beneficiaries did not lose out. We have continued to think how things could be done differently to develop new kinds of creative and artistic collaborations, to broaden audiences and cultural participation. If anything, the pandemic has highlighted the critical need for such work and for the social and healing power of music, and in particular shared experiences and creative interaction.

Initially, like many others, we responded to the pandemic by moving projects and activities online, as far as possible. Rather than being a poor substitute for the live experience, we saw how digital work can exceed artistic ambitions and engage the widest audiences. But regardless of the platform or delivery mechanism, projects that we ran over the last year primarily illustrated the power of music to connect people across divides.

“OL drove the project forward artistically and provided ambition for the project. Together, we crafted and devised a whole new project from scratch and OL gave us the confidence and support to embark on a completely new journey for the project in direct response to the Covid19 pandemic. The longstanding partnership between Philharmonia and Orchestras Live provides a solid foundation for the project to go in new directions.” Catherine Bullough, Philharmonia, Hear and Now

page 5

REPORT OF THE TRUSTEES FOR THE YEAR ENDED 31 MARCH 2021

During the year we maintained our relationships with 40 investing partners. In collaboration with other stakeholders, together we delivered 36 projects and concerts, within Covid-19 guidelines, across England. Our events featured 11 professional orchestras engaging 18,768 people in a combination of socially distanced live performances, live streams, online interactions and creative workshops and radio broadcasts.

In addition, we reached a further 5,839 people during the year through our website and 1,937 subscribers each month through our e-newsletter. Our Orchestras in Healthcare report, coauthored with City of London Sinfonia and the Association of British Orchestras, was downloaded 397 times. We devised Regenerate – a series of online conversations designed to explore new ideas that challenge the sector’s thinking and help create positive change for the communities we engage with – which received 458 sign ups from individuals from the orchestral sector and beyond, across 4 events hosted online.

We recognise that the orchestral sector faces a new landscape, shaped by public health measures, economic and technological challenges and public confidence in attending or participating in live music. The solutions we are exploring now will have lasting impact for Orchestras Live and our partners and audiences and lay the foundations for vibrant highquality orchestral activity post Covid-19.

In 2020/21, 100% of our partners reported that their relationship with us had a positive impact on their practice. 88% of our partners said that they would not have produced the activity without us. 100% of project partners said they were likely or very likely to further develop work started in their activity produced with Orchestras Live.

“[Working with Orchestras Live enabled us] to think and work differently with an orchestral partner. Online activity has the potential to reach a global audience but rarely does. For us to have the support of OL not only financially but to the concept in the first place was very important.”

Kevin Appleby, Turner Sims, London Sinfonietta Sound Out live stream

All of our work is about making the incredible music, artistry and skills of renowned British professional orchestras accessible to all sectors of society. Community and artistic partners benefit from our distinctive focus on community consultation and engagement, enabling them to consider how orchestras can best contribute to post-Covid recovery in communities that were isolated before Covid and are even more so now. Orchestras can play a role in rebuilding confidence amongst people to re-engage with each other, with their locality and with cultural activity; to have a transformational impact on the lives of people who are physically or emotionally isolated or unable to connect with cultural opportunities.

This level of quality, inspiration and creativity has a profound effect on the participants in Orchestras Live’s events and projects as well as bringing related societal benefits to their locations.

“This is outstanding, excellent but essential and much needed work that all people living with dementia and their carers and young people should have access to. There aren't really the words but really, you've struck musical gold with this.” Culture Counts Peer review, Hear and Now, Philharmonia/Tibbs Dementia Foundation

The following examples show the wide range of musical experiences we and our partners developed with people across England in 2020/21.

page 6

REPORT OF THE TRUSTEES FOR THE YEAR ENDED 31 MARCH 2021

Cultural communities

Evidence[1][2] shows that inherent inequalities experienced by individuals and groups prevent them from accessing high quality orchestral experiences as participants and audiences. Through a nationally significant network of sustainable local and regional partnerships, we prioritise work with people whose communities have suffered historic under-investment, one of the consequences of which is a lack of infrastructure or context to realise their full creative potential. In 2020/21, 31% of activity budgets and 31% of our Producers’ time targeted local authority areas within the bottom third for cultural engagement in England (Active Lives Survey 2018), exceeding our target.

Our co-productions place the emphasis on co-creation and co-curation, working with not for local communities, giving people a stake in their cultural programmes and challenging the orchestral sector to be radical and relevant.

“I’ve really enjoyed being in touch with professional musicians, that’s been a delight for me and of course I’ve loved joining in with other people from Withernsea to sing together. That’s been wonderful.”

Member of Withernsea Ladies Choir, Classically Yours – Unlocked Voices

We embrace our participants’ creativity and champion the relevance of their work alongside orchestras’ standard repertoire, fostering a broader understanding of new music amongst the profession and communities alike. 94% of our events and projects featured work by living composers including collaborative compositions.

“It's really been a great experience for me. I love the feeling that you get when you can hear your ideas in this beautiful piece of music played by a professional orchestra.” Young composer, Encountering Wordsworth

“It’s been such a joy to work on the … young composers’ material because it is so rich, my job was just to orchestrate it.”

Laura Bowler, composer/arranger, Encountering Wordsworth, Manchester Camerata

CASE STUDY: Music at Mannington

Orchestras Live’s experience in co-producing orchestral activity that is tailored to, and has its roots in, local communities, stood us in good stead during the pandemic year. Whilst our partner venues struggled with the dreadful uncertainties around financial sustainability, redundancies and constant rescheduling, we worked with them to use the power of their brand to take events to alternative indoor and outdoor spaces and combine this with bespoke high quality online content to extend their artistic programme and income streams. This offered an opportunity to consult local people on reshaping the programme and involve them directly in its delivery.

Through our long-standing partnership with North Norfolk District Council, we were able to produce one of the first live, outdoor performances in the country after the first lockdown in partnership with Sheringham Little Theatre and London Mozart Players. Programming and presentation were in the hands of four young people connected with the Theatre, who worked with the orchestra to plan a sequence of pieces that would complement their own narrative of reflections and poetry about their lived experiences of lockdown.

The socially distanced performance in the grounds of Mannington Hall was complemented by a live stream so that as many people as possible could experience the event live, and afterwards, through an online recording.

1 Fancourt D, Mak HW (2020) What barriers do people experience to engaging in the arts? Structural equation modelling of the relationship between individual characteristics and capabilities, opportunities, and motivations to engage. PLoS ONE 15(3): e0230487. https://doi.org/10.1371/journal.pone.0230487

2 Moore J (1998) Poverty and Access to the Arts: inequalities in arts attendance. Cultural Trends 8(31)

page 7

REPORT OF THE TRUSTEES FOR THE YEAR ENDED 31 MARCH 2021

As well as the thrill of experiencing live performance – for the young producers, the audience and the orchestra itself – this production was an important vehicle for the local authority’s strategy to reinvigorate the local economy through cultural tourism.

“The arts are massively important to everyone, and they’ve really helped all of us get through lockdown so it’s fantastic to be having some live performing going on.”

“We’ve never been through COVID before and yet we’ve managed to find this link between music that was written years ago and what we’re going through now.”

Feedback from young producers, Music at Mannington, London Mozart Players

Inspiring Children and Young People

OL demonstrates national sector leadership in the development of innovative orchestral work with and for children and young people under our First Time Live activity strand. In line with our regional development strategy, we build strategic partnerships with music education hubs (MEHs), Bridge organisations and Local Cultural Education Partnerships to target cold spot areas.

During the year we worked in partnership with 14 MEHs, engaging with children from the early years in mainstream and special schools, and involving families and carers in their children’s experience.

Children and young people have experienced continuing disruption since April 2020 and even when back in school, making music together has been severely limited or non-existent. Orchestras Live has brought all its ingenuity to bear in finding new ways to offer shared music making for young people, making extensive use of digital technology to keep them connected within a fun, learning environment.

Projects already underway when lockdown was introduced refocused rapidly to online delivery. For example, The School of BaROCK co-produced with East Riding of Yorkshire Council and Sinfonia Viva, as part of our award-winning Classically Yours programme, moved workshops and rehearsals of the new songs created by children in three East Yorkshire schools online and final performances were recorded and filmed for a digital culmination.

“The quality of this whole project was amazing. It started with a brilliant and informative planning session, continued with inspirational in-school sessions and managed to come to an exciting conclusion despite the complications caused by Covid-19… the children were enthralled watching themselves.”

Tom Cooper, Teacher, Kings Mill School, Driffield

Others were specially created for digital production, such as the live stream of London Sinfonietta’s Sound Out programme in collaboration with Turner Sims Concert Hall and Southampton and Isle of Wight Music Hub. This unique programme for Key Stage 2 students explored iconic contemporary classical music and featured two student premieres, to inspire a new generation of composers to get creative. This exemplified one advantage of live streaming, which can reach beyond geographical boundaries to engage an unlimited audience.

“In practical terms the ability to achieve viewer numbers for a programme of new music that are the equivalent of 7 sold out Turner Sims is quite mind-blowing!” Kevin Appleby, Turner Sims, London Sinfonietta Sound Out live stream

page 8

REPORT OF THE TRUSTEES FOR THE YEAR ENDED 31 MARCH 2021

CASE STUDY: Destinies

For many of the young people involved, our co-productions have become an essential part of helping them deal with isolation and separation from their friends and learning environment. Destinies is a co-creation performance project made with looked-after young people, young unaccompanied asylum seekers and professional artists from Sinfonia Viva and Ava Hunt Theatre. Destinies developed through our partnerships with Derbyshire County Council and Derbyshire Virtual School to explore how an orchestral dimension could enhance their work with vulnerable young people.

Initial workshops showed how well the participants responded to the creative activity of theatre writing and acting, visual art, and song-writing . The interruption of lockdown in March 2020 suddenly compounded the issues of loneliness and mental health faced by the young people .

Recognising how vital it was to keep this activity running for the young people’s wellbeing, we moved the creative process online, with the company of unaccompanied asylum seekers and looked-after children working with Ava Hunt Theatre to develop the script and animations for their piece, and with further song-writing and development of the under-score with the Sinfonia Viva team. Their work was adapted into a filmed montage – including animation, songs, music, and the young people’s commentary about the process of working through Covid-19 restrictions – which was showcased in October 2020 as part of the Care About Care? online festival.

We were delighted for everyone involved in this remarkable project when it won a Children and Young People Now Award in the Arts and Culture Category.

“It just helped me a lot to inspire myself to be better than what I am, to be the best I am really, the best version of me.” Participant, Destinies

Improving Health and Wellbeing

All Orchestras Live programmes aim to provide inspirational experiences that have a lasting impact, and our developmental, bespoke work addressing issues around dementia, loneliness, mental health and marginalisation continues to grow in significance. Further evidence of the impact the orchestral sector is making in supporting society’s health and wellbeing was produced in our nationwide report, in partnership with the Association of British Orchestras and City of London Sinfonia: Orchestras in Healthcare (see p.12).

During the year we have worked with many different communities, in small and large-scale care settings and in isolated communities where loneliness is a common and debilitating experience for many. This has been significantly exacerbated by lockdown. The role that music and music-making has to play in supporting wellbeing has been dramatically underscored and there have been notable examples of individual musicians, as well as orchestras, making concerted efforts to bring joy and comfort to people’s lives, through music.

CASE STUDY: Unlocked Voices

One of our last live events with a physical audience before lockdown was a concert in Withernsea and this town, on the isolated coast of the East Riding, became the focus for a brand-new project in 2020. Unlocked Voices supported participants’ wellbeing and sense of connection, bringing people together to share in a creative process, reflect on their experiences during the pandemic and make new music together. It enabled Manchester Camerata musicians and composer Richard Taylor to continue working in the community through a series of virtual workshops and create something particularly poignant to share with the town.

The project was enriched by our partnership with Active Withernsea, East Riding of Yorkshire’s community-focused Sport England pilot programme, that sets out to understand what makes a community healthy and active. Their consultant, Dr Rachel Lilley, brought her expertise in movement and mindfulness into the creative mix. Through a taster workshop in July, participants, including members of the Withernsea Ladies Choir, worked with us to trial the format and discuss themes to explore, deciding on the project name in the process. Online sessions moved from

page 9

REPORT OF THE TRUSTEES FOR THE YEAR ENDED 31 MARCH 2021

creativity to kitchen samba, through to mindful movement, which brought participants to a place where they could enjoy specially created films of Manchester Camerata’s performances.

Through these sessions, Withernsea residents and orchestral musicians wrote and performed new music together, producing a special film – Sounds of Withernsea – that was premiered in December. Everybody involved in the project experienced the benefits of co-creation, including the musicians for whom this was the first opportunity to perform and record since March 2020, when they lost most of their income overnight. For some, the experience was very emotional. One of the musicians said that the project gave them “ a sense of purpose; reminded me what this was all about once again ”.

Lauren Powell, independent evaluator for Active Withernsea from Aberystwyth University, confirmed that: Unlocked Voices has successfully improved wellbeing and reduced social isolation during lockdown, increased confidence and interest in music, and given a sense of ownership over the song they created together. Running the choir online also had the added benefit of increasing participants’ confidence in using technology.

“One of [the lines in the song] was ‘breaking through’, and I think it did, it broke through the loneliness didn’t it?” Unlocked Voices participant, Withernsea

Driving inclusion

As a national producer, Orchestras Live is in a unique position to engage orchestras, promoters and investing partners in new approaches to address inequalities of access and opportunity. Our Diversity and Equality Strategy for 2018-22 is informed by the Equality Act (2010) and by Arts Council England’s Creative Case approach to diversity and equality, with associated targets in relation to protected characteristics and differing socio-economic backgrounds.

Our emphasis on access, opportunity and creativity means that we are working with an increasingly diverse group of artists and communities, delivering on the Arts Council’s ‘Creative Case for Diversity’. We are one of only three orchestral organisations currently to be rated ‘strong’ by ACE in delivering the Creative Case.

Over the first three years of our Business Plan we have achieved an average percentage of projects giving prominence to diverse artists or music leaders of 55% (target 50% average over the 3-year period 2018-21). We undertook two audience development initiatives for diverse communities and fostered two partnerships between orchestras and diversityled/focused organisations.

CASE STUDY: Share Sound

One of the first concerns we heard from our Music Education Hub partners was that keeping young people engaged in ensemble music-making during the Covid-19 crisis presented an apparently insurmountable challenge.

Prompted by this, and with our own understanding of the potential for digital engagement increased through experience, we developed Share Sound , a major digital music education project. We harnessed the power of digital technology to look beyond the initial issue of ensemble work to address some inherent inequalities within traditional youth ensemble structures and develop an inclusive approach.

At the heart of Share Sound was the aim to attract a wide range of young musicians including those playing in different genres and from diverse backgrounds who might not have been involved in traditional youth ensembles before. Three orchestras – Chineke! Orchestra, Orchestra of the Age of Enlightenment and the Royal Philharmonic Orchestra – worked with Music Education Hubs to create new music ensembles, which allowed young people to compose, curate, rehearse, perform and record new music digitally. Young people and co-creation were at the heart of the project, with 244 young participants from six counties involved in 50 workshops led by Artistic Director James Redwood, with a team of 5 diverse Associate Music Leaders assembled by Orchestras Live and 41 music tutors from the Music Hubs.

page 10

REPORT OF THE TRUSTEES FOR THE YEAR ENDED 31 MARCH 2021

Initial feedback from participants points to the power of technology to make connections and increase young people’s understanding not only of new concepts, but also the views and creativity of people they would never normally meet.

“Even though I haven't met anyone here, I feel as though I can speak up and have a say whereas I would usually be more shy.”

“We really liked how we were given the choice of which break out room we wanted to go to. We really enjoyed the session.”

“I really enjoyed working with people I didn't really know that well and making music with them just feels very special and memorable.”

“I feel that the group composition has been a brilliant way to a) learn to compose, and b) learn to take into consideration other people's views and work alongside other musicians that I wouldn't ever think of working alongside.”

Share Sound included a Grand Finale digital performance in July 2021 together with a live performance hosted by each of the Music Hubs. A full evaluation report will be produced and disseminated widely to share learning from this major project.

Workforce development

To ensure that our projects offered orchestral experiences of the highest possible quality, we worked closely with our partners to support the development of a diverse orchestral workforce.

We have continued to integrate development of orchestral musicians and particularly their skills as music leaders into project planning wherever possible, offering new opportunities and supporting diversity and inclusion. In 2020/21 we exceeded our target to offer training opportunities for musicians with 6 opportunities provided, all of which were for musicians from backgrounds under-represented in the orchestral workforce. This work is contributing to our sector leadership regarding workforce development and diversity.

CASE STUDY: More Up by Oliver Vibrans, performed by Able Orchestra

Able Orchestra is an inclusive ensemble comprising young musicians, some of whom are profoundly disabled, and adult musicians and digital artists from different genres including players from the Hallé and BBC Philharmonic. Orchestras Live has partnered with Inspire Youth Arts and Inspire Music to support the orchestra’s evolution over a number of years, reaching a peak in early 2020 when they performed at the opening of the Association of British Orchestras’ annual conference. Able Orchestra has provided a platform to showcase the achievements of inclusive music-making and cause people to rethink how an orchestra of the 21st century looks and sounds.

For the ABO performance, we and our partners joined to commission More Up by Oliver Vibrans – the first new work by an external composer to be performed by Able Orchestra. In the piece, the composer brings together and gives voice to multiple approaches to creating music, including using technology to empower a wider range of people to shape and perform music, in a performance that transcends its individual components and expands our understanding of what music-making can and should be.

In 2020, More Up was shortlisted for the Royal Philharmonic Society Large-Scale Composition award and was winner of the Ivors Composer Award for Community and Participation.

“An outstanding example of musical integration that’s very skilfully written for the forces and ranges of abilities involved, showing all the performers at their best. The spectral sound world is beautiful. The embedded approach to the electronics and visual elements in the work extremely well crafted and thought through. It’s an adventurous and sophisticated piece of music, complex but interesting. Simply stunning.”

Ivors Composer Awards judges' citation

page 11

REPORT OF THE TRUSTEES FOR THE YEAR ENDED 31 MARCH 2021

Building Networks

Throughout the course of the pandemic, our Producer team remained in close contact with our partners even when activity was not possible, supporting them in finding solutions that would continue to reach audiences and participants, rethinking delivery models and developing new skills, including innovative use of digital technology. This work supports our aim to develop and sustain a network of committed, dynamic partners engaging diverse audiences in orchestral music.

“Orchestras Live have been very supportive of JAM on the Marsh, open to our programming ideas and, in this year, supportive of our change to a virtual festival. This support gives us confidence to programme interesting concerts and work with outstanding orchestras.” Sarah Armitage, JAM on the Marsh

We also reached beyond the orchestral sector to connect with organisations focusing on the social and wellbeing challenges facing individuals and communities throughout the pandemic. Our Regenerate series offered a unique opportunity to establish a new community of professionals working within and beyond the orchestral sector, learning from each other in addressing some of the urgent questions raised by Covid-19 for our culture and communities and collaborate for change in the orchestral music sector.

CASE STUDY: Orchestras in Healthcare

During the summer of 2020 Orchestras Live, in partnership with the Association of British Orchestras (ABO) and City of London Sinfonia, conducted an online survey of ABO member orchestras to create the first comprehensive picture of professional orchestras’ engagement in health and wellbeing provision throughout the UK. 83% of the surveyed orchestras responded, from all four UK nations. The responses demonstrate that the orchestral sector is delivering activity in all the healthcare settings covered, including acute and chronic hospital settings, mental health and social care settings, community and care settings.

Orchestras in Healthcare , our report on the findings, was published online in March 2021, featuring introductions by Darren Henley, Chief Executive of Arts Council England, and James Sanderson, Chief Executive of the National Academy of Social Prescribing. The report concludes: • UK professional orchestras make a significant contribution to health and wellbeing in formal and informal care settings in all four UK nations • They invest in this work themselves, representing a net gain of at least £1.6m to the public health sector • There is considerable geographical unevenness in provision, particularly across the English regions • Chamber orchestras are at the forefront of developments in health and wellbeing activity and partnerships, reflecting a more flexible model

The report recommends that formal partnerships are established between orchestras and the public health sector that bring the benefits of musical interventions into the heart of personalised care systems, and outlines the steps required to make this a reality.

Orchestras in Healthcare has been uniformly welcomed as a significant contribution towards forging a cross-sector network and presentations on the report were featured at a dedicated session – Aftershock: A Healthier Nation – at the Association of British Orchestras conference and at the Music Education Council seminar on The Impact of Music on health and Wellbeing. An article on the report’s findings was published in a special issue of Public Health on Arts, Health & Wellbeing in February 2021.

Impact and Insight

Orchestras Live has an outcomes-based approach to its work which is driven by the data we collect and analyse to measure impact, learn from results and share insight.

page 12

REPORT OF THE TRUSTEES FOR THE YEAR ENDED 31 MARCH 2021

To inform our strategic and project planning, we draw on external sources and internal data:

We monitor the effectiveness of our activities against planned outcomes through:

We undertake robust internal evaluation and reporting of every project’s performance against its objectives, using detailed reports and analysis to help improve the effectiveness and increase the impact of our work.

Communications and Advocacy

Communications touches every aspect of our delivery, from insight and impact reporting to raising our profile and championing the needs of our beneficiaries. We promote the impact, value and learning from our work across our networks and stakeholder groups – locally, regionally, nationally and internationally. This informs our core role of thought leader and convener and communicates our brand and values to the sectors in which we operate.

Our Communications and Insight & Impact functions are inter-related so that internal and external communications build on impact measurement to support advocacy and business development.

We maximise the use of digital platforms to strengthen Orchestras Live’s brand position, extend and deepen impact through digital distribution and champion under-represented audiences. Our digital action plan has challenging targets for increasing engagement across all platforms. Our ebulletin list achieved modest growth at 1,937 (2019/20 1,731) subscribers, we had 3,053 Twitter followers and increased our reach through new presence on Instagram with 509 followers (growth of 248%) and LinkedIn with 419 followers (growth of 403%), following work to improve the quality of online traffic. Our website reach for the year was 5,839 and analytics demonstrate a higher percentage of our website traffic coming from our social media presence and referrals from external websites.

In June 2020 we launched Regenerate – an online discussion forum – in response to the global pandemic and a desire to support the orchestral sector to continue to innovate during this difficult period. The panel events aim to provide debate which challenges and stretches the sector, as well as a new platform for individuals and organisations to come together to discuss key issues. Panel members were varied, from diverse backgrounds and perspectives, stimulating discussion and exploring new approaches. The events attracted 458 people from within and outside our sector, from across the UK and abroad. There were

page 13

REPORT OF THE TRUSTEES FOR THE YEAR ENDED 31 MARCH 2021

four Regenerate events in the year, discussing the rush to digitise content, diversity within the sector’s talent pipeline, the role of community-based work, the role of civic purpose and whether orchestras have one. Regenerate has demonstrated its value both to Orchestras Live and to the sector and will continue as part of our thought leadership strategy in 2021/22.

I've been to two of these events now – both such a valuable hour – I've been to day-long events that have covered less ground. Great pace, great range of contributors, really digestible. Please continue them if you can!

As a deaf person – It was very good to see the captions. It felt like for the first time in my life I can appreciate why people listen to panel discussions on the radio. Far better and more accessible than the usual podcast.

The diversity of the panel really made this successful – so great to hear examples from artists themselves (both totally different), and also insight from a well-established orchestra from outside of the UK.

Survey feedback from Regenerate attendees

We have also launched a Tea Break video series of informal conversations, offering an engaging way to access our extensive expertise and look behind the scenes at Orchestras Live’s projects and partnerships. Our first two Tea Break episodes, on East Riding/Classically Yours and Share Sound, received 341 views. We will continue the series in 2021/22 featuring discussions on key challenges facing the sector and routes to effect change ( Orchestras in Healthcare , Black Lives in Music).

Performance Management

We maintain a bespoke IT system to record and analyse all data arising from our work in an integrated reporting format.

The Board of Trustees has access to all governance information through a dedicated intranet. This also hosts the Orchestras Live ‘Dashboard’ – a tailored Microsoft Excel-based reporting system which allows us to measure our performance against the detailed quantitative annual targets set out in our Business Plan. Updated monthly, this facilitates trustees’ oversight so that they can readily monitor performance throughout the year. Self-evaluation takes place on a regular basis through staff meetings and annual appraisals which result in a structured year-round work plan with objectives for each team member.

Orchestras Live is a National Portfolio Organisation (NPO) of Arts Council England. 2020/21 was the third year of our four-year Business Plan to March 2022, the outcomes and targets for which had been agreed with Arts Council England. A copy is available on request.

We measure performance against key indicators across the course of our four-year Business Plan:

Focus area Strategic Aim Key performance indicator
Programme Artistic Leadership Partners report that their relationship with us has had a
positive impact on their practice
Broadening
Engagement		 Number of partners investing in our work

page 14

REPORT OF THE TRUSTEES FOR THE YEAR ENDED 31 MARCH 2021

Diversity Organisational development reinforces inclusion at the
Delivery

heart of our governance, incorporating best practice for

inclusive Board development
National Sector
Leadership		 Independent evaluation or feedback from partner

orchestras on major projects demonstrates positive

impact on sector development and/or change of

practice
Learning Communications Evidence of increased engagement against 2017/18

and Growth

baseline, by audiences, participants and industry

colleagues on all digital channels
Impact and Insight A Needs Analysis in 2019 and 2021 (pending) that

informs regular reviews of the Business Plan
Income Generation We secure contributed income towards our core costs
totalling £460,000 over four years
Resources We operate within
the parameters of
the Board’s
Reserves Policy		 We maintain an unrestricted reserve equal to a
minimum of three months of operating expenditure

Funding Development and Income Generation

Orchestras Live is a charitable organisation reliant on fundraising – in 2020/21 our Arts Council NPO grant was 52.3% of the total income achieved to deliver our Business Plan (2019/20: 59.6%). A further 16.3% was raised through partnership investments and other contributions made by local authority and music education hub partners (2019/20: 20%).

Throughout 2020/21, our senior management and Board of Trustees actively monitored the impact of Covid-19 on our financial and operational position. Scenario planning, focusing on a live Strategic, Financial and Operational Covid-19 planning document, was conducted regularly by trustees and brought quarterly to the board. Close monitoring of the changing situation and an agile approach to adopting a range of mitigating actions enabled us to remain fully operational, avoiding the negative impact of furloughing staff, as a result of which we have retained the majority of our investing partners.

At the same time, we monitored and, where eligible, applied for emergency support offered by funders. We successfully applied for £92,486 Culture Recovery Funds from Arts Council England / DCMS which has reflated our reserves to a positive margin within our Reserves Policy. This has provided us with a stable financial basis from which to fundraise.

In addition to Culture Recovery Funds, we secured emergency funding from the Esmée Fairbairn Foundation (unsolicited, unrestricted) and a significant grant from the Weston Culture Fund (towards core and project costs).

Furthermore, we are grateful for funding towards core costs from the Esmée Fairbairn Foundation (3-year grant commencing 2020/21) and the D’Oyly Carte Charitable Trust. We are in the second and final year of a grant from the Garfield Weston Foundation towards core costs. Grants towards project activity were secured from the Radcliffe Trust, Harold Hyam Wingate Foundation and the Wixamtree Foundation.

page 15

REPORT OF THE TRUSTEES FOR THE YEAR ENDED 31 MARCH 2021

We take this opportunity to acknowledge and thank funders for their flexibility in the year enabling us to adjust delivery in line with Covid-19 measures – Mayfield Valley Arts Trust, Peter Sowerby Foundation, Postcode Community Trust and Scops Arts Trust. In addition, the transformative impact of our grant from the Foyle Foundation has continued through work in the North.

We continue to enjoy a positive and constructive relationship with Arts Council England at both regional and national level. We have retained our status as a National Portfolio Organisation and will be applying for an extension to 31 March 2023, as offered by the Arts Council to all NPOs.

The Orchestras Live team also supported and advised partners on a number of their own fundraising bids for joint work, levering £37,153 of extra local investment into local communities.

Maximising voluntary income continues to be a priority for the organisation to support our developmental projects. At present we do not undertake any significant activity in terms of raising funds from the public but during the year we have begun to explore a donor campaign in consultation with trustees and in line with our ambitions to further diversify our income sources.

Our sincere thanks go to all our supporters over the past year, without whom our work would not be possible.

Environmental Sustainability

As a charity with a national remit, Orchestras Live recognises its responsibility to promote best practice in carbon friendly emissions policies. The Green Orchestral Charter , produced in collaboration with the Association of British Orchestras, the British Council, Arts Council England and Julie’s Bicycle, is a sustainability charter including criteria for accreditation for our orchestral, local authority and promoter partners.

During the pandemic all staff worked from home, utilising existing cloud systems. Board meetings and all staff meetings have been conducted on digital platforms. Our normally extensive travel to meetings and events reduced to almost zero, in relation both to rail and car mileage.

We will incorporate lessons learned as social distancing requirements are lifted and will continue to maximise the benefits of virtual meetings wherever appropriate in the coming year.

We have adopted targets in our Environmental Sustainability Strategy 2018-22 to measure and reduce our own environmental outputs as well as urging our orchestral and promoter partners to sign up to the Green Orchestral Charter.

Staff and Operational Structure

Our small staff team of nine is led by the Chief Executive, who reports to the Board of Trustees.

page 16

REPORT OF THE TRUSTEES FOR THE YEAR ENDED 31 MARCH 2021

During the year the fixed-term post of Regional Producer – North was confirmed as a permanent staff role, in recognition of the positive developments that have resulted in the North of England since the post’s introduction.

We also commenced further organisational development to support succession planning, reinforce our regional profile for staged growth and ensure appropriate investment in a dynamic staff team, able to face the challenges of future years. The results of this work will be finalised early in 2021/22 as approved by the Board in line with financial projections.

The resilience of our financial and operational model (with cloud-based data management and reporting systems) enabled us to transition to 100% remote working with no adverse impact on our collaborative work with partners or our sector leadership. Our cloud-based systems continue to provide a stable base for Orchestras Live’s operations. We have realised immediate savings made without adverse effects on operations, notably monthly savings on expenses, as we have not been travelling to meetings/events, and on rent.

The accountancy firm Lindeyer Francis Ferguson acts as Orchestras Live’s financial managers. They have tailored an accountancy system to Orchestras Live’s needs, enabling a high degree of clarity on the financial affairs of the charity.

FUTURE PLANS

In 2021/22 we will embark on the delivery of a new Business Plan developed following a consultation process involving Orchestras Live trustees and staff during Autumn/Winter 2020/21. It draws on our sector knowledge, informed specifically by our 2019 Needs Analysis and subsequent continuous consultation to assess the impact of Covid-19 on our partners, audiences and participants, and the challenges they face. It reflects our view of 2021/22 as a year of transition as the shock waves of Covid-19 and its impact on the cultural sector and the communities where we work continue to be felt.

The plan presents Orchestras Live’s strategy to harness the transformative power of orchestral experiences to inspire, bring joy and support the wellbeing of people and communities in under-invested areas of England.

We will implement the Plan during 2021/22, looking to consolidate a stable position from which to plan from 2022/23 for a four-year period. This will include our next application to Arts Council England for National Portfolio Funding from 2023/24.

During 2021/22 the plan will enable Orchestras Live to:

page 17

REPORT OF THE TRUSTEES FOR THE YEAR ENDED 31 MARCH 2021

Solutions explored now to engage with new audiences, at a time when physical distancing has compounded social isolation, will have lasting impact, building meaningful links between orchestras and communities, building new and diverse audiences, supporting long-term resilience and relevance of the orchestral sector.

We will review our practice, policies and performance to ensure that Orchestras Live works actively to drive out racial and other forms of discrimination in all its work, and advances positive progress towards embedding inclusivity and diversity across the orchestral sector and with our community partners.

PRINCIPAL RISKS AND UNCERTAINTIES

The risks and uncertainties faced by Orchestras Live are reviewed on an ongoing basis by the trustees. Prior to Covid-19, the Risk Analysis across the term of the Business Plan was reviewed annually in March; a snapshot analysis of the status of those risks for the current financial year was produced monthly and circulated to trustees as part of our Dashboard reporting system. In addition, the Finance Committee reviews the status of the financial risks at its quarterly meetings, and the full Board reviews the status of all the risks at each meeting. Since March 2020, the Risk Analysis has been reviewed at each meeting of the Board and Finance Committee, with the impact of Covid-19 on all the risks integrated both into the Risk Analysis and an accompanying narrative document, both of which are revised on an ongoing basis as the context changes.

Scenario planning and a related programme of policies, actions and timelines is undertaken regularly and was stepped up in response to Covid-19. A sub-group of trustees worked closely with the Chief Executive to monitor the impact on financial performance and viability, examine mitigating options across all areas of Orchestras Live’s internal and external activities and ensure that adjustments are made in a timely manner, involving staff consultation where necessary. Scenario planning continues into 2021/22.

The development of our future plans coincides with major challenges to the cultural and charity sectors and a level of uncertainty within the economic environment which is unprecedented, due to the impact of Covid-19. Principal risks and uncertainties – and the strategies in place for managing those risks – are:

page 18

REPORT OF THE TRUSTEES FOR THE YEAR ENDED 31 MARCH 2021

FINANCIAL REVIEW

Total incoming resources amounted to £932,036 (2019/20: £803,335) and total resources expended were £606,135 (2019/20: £929,332) so that there were net incoming resources before tax and other gains/losses of £325,901 (2019/20: net outgoing resources of £125,997).

Total funds carried forward at the balance sheet date amounted to £631,641 (2019/20: £374,744), divided into restricted funds of £136,416 (2019/20: £34,376) and unrestricted (including designated) funds of £495,225 (2019/20: £340,368), of which £364,272 (2019/20: £304,396) is designated for use in partnership with specific investing partners.

To maximise the investment return while safeguarding their security, balances not required for short-term working capital purposes have largely been held on 90-day deposit with Hodge Bank and in an instant access deposit account with Charity Bank.

In addition, a deposit of £60,000 is lodged in escrow with Essex County Council in respect of any pension deficit accrued by Orchestras Live; the FRS 102 report identified a deficit of £193,000 at 31 March 2021 based on draft end of year expectations.

Orchestras Live has no property or material assets on whose value Covid-19 or a recession would have an impact. We received a grant from the Government’s Culture Recovery Fund which is administered by Arts Council England with funds provided by DCMS. We are in receipt of a Bounce Back Loan of £50,000 which becomes payable in December 2021.

Reserves Policy

Orchestras Live (OL) is a registered charity and does not attempt to generate profits. The majority of Orchestras Live’s income is raised through payments for services (charged to local authority and other promoter partners), through grants or contributions from Arts Council England and various Trusts and Foundations, and from consultancy and commissions. The majority of this funding is received in advance of expenditure and the interest derived from investment of these funds is a further source of income for Orchestras Live. However, OL is reliant on income streams over which it has limited control and

page 19

REPORT OF THE TRUSTEES FOR THE YEAR ENDED 31 MARCH 2021

therefore needs to ensure that its core operational costs can be covered for an appropriate period, should any of the income streams be unexpectedly reduced or delayed.

As an ongoing policy, Orchestras Live will therefore aim to maintain unrestricted Reserve Funds sufficient to cover a minimum of three months’ operational activity (budgeted at £133,185 for 2021/22). This figure varies from year to year and is calculated by dividing by four the total allocation to Overhead expenses in the approved budget for any given year. Free unrestricted funds (unrestricted funds excluding designated funds and fixed assets) of £174,721 at 31 March 2021 (2020: £110,579) meet this policy objective. In addition, the trustees continuously assess the risk relating to the financial context in which Orchestras Live operates and its potential impact on the organisation. They have identified the need to ensure that the charity can not only cover its operational expenditure for three months but can also carry out its charitable activities for the same period, while noting that Orchestras Live does not provide essential services to vulnerable beneficiaries. Trustees actively manage the finances of the charity: forecast figures are monitored and financial risks are reviewed formally on a quarterly basis to inform forward financial planning and ensure that a sufficient level of reserves is held.

Trustees have considered Charity Commission guidance on charity reserves and building resilience (CC19 – published September 2018) and are confident that Orchestras Live’s financial resilience is adequate and that the charity can meet its financial liabilities for at least 12 months.

The recent and ongoing financial climate has led to extraordinary levels of competition for unrestricted funds. At the height of the pandemic, Orchestras Live faced the prospect of failing to meet its reserves policy and undertook scenario planning to inform mitigating actions. Amongst these was an application to the Arts Council England/DCMS Culture Recovery Fund, whose success was instrumental in restoring reserves to the required level. Trustees have reviewed the reserves policy in the light of recent events and have concluded that it should remain in place unchanged.

In addition, scenario planning is undertaken on an ongoing basis and is reviewed by both the Finance Committee and the Board at least quarterly. This planning exercise assesses a variety of scenarios and the financial effect of potential and implemented mitigating actions.

This already extraordinarily competitive financial scenario has been exacerbated by the severe and unforeseen impact of Covid-19 on every aspect of Orchestras Live’s work and operating context. Orchestras Live’s income generation opportunities are even more limited than pre-Covid-19, however exposure to financial risk has been low: Orchestras Live does not rely on income generated by ticket sales and has had few financial commitments to honour for activity which had been contracted by promoter partners but did not take place due to Covid-19 restrictions. Some planned expenditure has not been incurred as those events have been cancelled and cannot be rescheduled, enabling those funds to be reallocated to future activity when circumstances allow.

Orchestras Live and its financial services provider Lindeyer Francis Ferguson continue to proactively manage income, expenditure and cash flow projections at a very detailed level. These are reviewed by the Board and the Finance Committee at least quarterly.

Trustees have taken a structured approach to cost reduction. Mitigating actions implemented during the year have included downsizing premises and a reduction in staff and trustee travel, alongside ensuring maximising opportunities for claiming Orchestra Tax Relief. Underspends have been achieved in various areas; those funds have been returned to the General Fund at the year end.

page 20

REPORT OF THE TRUSTEES FOR THE YEAR ENDED 31 MARCH 2021

Designated Funds

Unrestricted reserves may be classed as ‘designated’ for a specific purpose. Any designated funds are in addition to those required to cover three months’ operational activity. A significant level of activity could not take place during 2020/21 due to Covid-19 restrictions and has been rescheduled. To meet commitments made to this activity, some Programme Funds have been carried forward in a designated fund rather than classified as an underspend and returned to the General Fund. Similarly, some funds from the 2020/21 Communications budget were committed to activity which has since been postponed due to the pandemic and will be carried forward in a designated fund.

Partnership Investments made to Orchestras Live by partners are payments for services and therefore unrestricted income. Orchestras Live will designate a proportion of this income, whether from the current financial year or previous years, as Partnership Funds for use in specific local authority areas. Partnership Funds are in addition to those required to cover three months’ operational activity.

Restricted Funds

Funds provided to Orchestras Live as grants or charitable donations for a specific purpose will be identified separately in the accounts. Care will be taken to ensure that such funds are used only for the purpose for which they were provided, or renegotiated with the grant maker should any project adaptations be required as a result of Covid-19.

As a general rule, care is taken to ensure that restricted funds and designated funds subject to contractual obligations are not used for the general funding of the charity. Thus, the Bounce Back Loan was accessed partly to ensure liquidity without risking inadvertently using restricted or designated funds to cover cash flow.

Pension Fund Deficit

At the balance sheet date, the pension fund was in deficit by £193,000 (2019/20: £89,000). This valuation was based on estimated data at 31 March 2021; had the report been run using actual data at 31 March 2021, the deficit figure would have been lower by a few thousand pounds. Trustees were of the opinion that the £225 cost of rerunning the report with actual data outweighed the benefit of being able to show a slightly lower deficit under FRS 102. However there is likely to be a further negative impact caused by Covid-19 on the Essex Pension Fund’s assets which will be reflected in the scheme’s FRS 102 valuation at 31 March 2022. The deficit represents the charity’s share of assets less liabilities within the Local Government Pension Scheme administered by the Essex Pension Fund and is described in Note 20 to the financial statements. The deficit is calculated using various actuarial estimates as set out in Note 20. These are based on underlying variables which are outside the charity’s control and which can fluctuate significantly. The deficit is partially covered to the extent of £60,000 (2019/20: £60,000) by an escrow bank account in the charity’s name held by Essex County Council. In addition, the charity agreed to marginal increases in employer contributions for three years from 1 April 2020.

The trustees have considered the Charity Commission's advice on Charity reserves and defined benefit pension schemes (published May 2013) which states that the disclosure of a significant pension fund deficit under FRS 102 does not mean that an immediate liability for that amount crystallises; it does not mean that the equivalent amount of reserves is already committed and is no longer available to the trustees to further the charity’s objectives. The guidance continues that the FRS 102 calculated liability (or indeed asset) should be excluded when calculating free reserves but careful consideration should be given to the cash flow implications that may arise from the accounting disclosure in terms of increased or reduced

page 21

REPORT OF THE TRUSTEES FOR THE YEAR ENDED 31 MARCH 2021

employer contributions. In the light of this advice, trustees have not included the Essex Pension Fund deficit when calculating Orchestras Live’s free reserves. They continue to give careful consideration to the implications of employer contributions when calculating cash flows and setting the annual budget.

Investments

Investigation of the investment market available to charities has established that highearning, accessible, secure investment opportunities are limited. Trustees have therefore decided it is prudent to keep surplus funds in UK cash-based, interest bearing deposit accounts rather than other types of investment and will aim to maintain the best available safe return with minimal administrative charges. As part of their Financial Management service, Lindeyer Francis Ferguson (LFF) advises Orchestras Live on cash flow and the maximisation of interest receivable on funds held.

Trustees have considered Charity Commission guidance on charities and investment matters (CC14 – updated August 2016). Potential alternative investment opportunities available to charities are sought and reviewed by the Finance Committee at least annually.

A formal review of the Policy on Reserves and Investments is undertaken by trustees on an annual basis.

Remuneration Policy

During the year, Remuneration Committee reviewed the Remuneration Policy for 2021/22, with recommendations approved by the Board on 16 March 2021. The Policy adopts a banded approach, weighed against industry benchmarks, to ensure a fair and anonymised system providing flexibility alongside cost control with regard to remuneration and holiday entitlement. The bandings will be reviewed annually by Remuneration Committee to ensure continuation of an even distribution. These bands will be utilised by the Committee when awarding annual increments, thus enabling differentiation within the workforce without breaking down decisions to an individual level. This will facilitate, when desired, an inflationary skew towards lower earners, addressing wage inequality whilst reducing impact on affordability.

The remuneration of the CEO is determined by trustees by giving due consideration to market rates in the sector, performance and affordability.

STRUCTURE, GOVERNANCE AND MANAGEMENT

Governing Document

The charity is controlled by its governing document, a deed of trust, and constitutes a limited company, limited by guarantee, as defined by the Companies Act 2006.

Governance

Orchestras Live is governed by 12 trustees. With a strong track record of robust governance and self-assessment, the Board has a rolling public trustee recruitment programme, seeking additional skills to meet new strategic challenges and targeting applicants outside London. During 2020/21, one trustee retired at the end of their term and two trustees recruited through a public recruitment process in 2019 joined the Board in November 2020. The current Board is diverse in age, gender and cultural background; its membership provides high-level expertise in orchestral practice, finance, monitoring and evaluation, risk

page 22

REPORT OF THE TRUSTEES FOR THE YEAR ENDED 31 MARCH 2021

management, legal, governance, communications, digital, health and wellbeing, education (general and music) and arts and event management.

We believe we have a highly competent Board that focuses on strategic direction, current and future risk analysis and forward planning. All trustees are involved in the annual process of reviewing the Business Plan and in ensuring that planned and measurable outcomes and targets are achieved.

We regularly review our governance processes to bring greater clarity to our systems, including a Finance Committee that scrutinises everyday finances and advises the Board on future financial direction. During the year an additional Covid-19 working group has met to monitor the impact and appropriate mitigants. A Remuneration Committee advises the Finance Committee on staff remuneration.

Reflecting our ongoing commitment to improve performance across the organisation regarding diversity and inclusion, we successfully applied to join the first cohort to use the I’M IN Diversity and Inclusion audit tool. A combination of staff and Board members took part in three discussion sessions which formed a starting point for structured conversations about Diversity and Inclusion within Orchestras Live. These are continuing into 2021/22 to ensure a robust approach to diversity and inclusion throughout the organisation, including future trustee recruitment.

Board and staff jointly participated in a training session on ‘Recognising Unconscious Bias in the Workplace’.

A full Trustee Skills Audit is undertaken annually to identify gaps, review diversity and inform our open recruitment process. We regularly refresh our communications with trustees to support their active engagement in the charity’s activities.

We ensure that each potential trustee understands the charity’s expectations of them and a comprehensive schedule outlines the induction process, both leading up to and after the formal appointment. All trustees have access to a dedicated intranet for all documentation and background information, presented in a user-friendly format for them to explore at their own pace. Through a secure, bespoke online login, trustees can access all governance, financial and monitoring information at any time, as part of an entirely paper-free governance process.

Within approved policies, business and financial plans, the trustees have agreed to delegate routine items to the staff team, led by the Chief Executive and Company Secretary.

The trustees held an open tender to appoint independent auditors for the 2017/18 audit. Following rigorous scrutiny of the applications received, DNG Dove Naish LLP were reappointed for an initial three-year period. A further tender process will be undertaken before the 2022/23 audit.

Dr Tony Stoller CBE is currently Chair of the Board and Rebecca Saunders is Vice Chair. Neil Mathur was the Chair of the Finance Committee, which meets quarterly, until the AGM in November 2020, after which Helen Harrison took over as Finance Committee Chair. The Remuneration Committee meets as required and is chaired by trustee Matt Littlewood.

The trustees have reviewed their governance policies and practice against the Charity Governance Code for smaller charities (updated 2020) and are satisfied that they are following its guidance.

page 23

ORCHESTRAS LA4 REPORT OF THE TRUSTEES FOR THE YEAR ENDED 31 MARCH 2021 STATEMENT OF TRUSTEES, RESPONSIBILITIES Th8 Irustaes are r8sponsible for preparing the financial statements in accordance with applicable law and United Kingdom Generally A￿epted Accounting Practioe. Company law requires the trustees to prepare financlal statements for each financi81 year. Under that law the trustees have elected lo prepare the financlal ststemenls in accordance wlth the United Kingdorn Generally Ac£epled Accounting Practice Iunlted Kingdom AGcounting Standards and applicable law). Und8T company law the trustees must not approve the financial statements unlass they are salisfled that they glve a true and fair vlew of the stat8 of affairs of the charitable company and of the Surplus or d8fiGiI of the charltable company for that period. In prepariw those fi'nanchgl statements, the trustees are requlred to.. S818Ct suitsble accounting polici8s and then apply them Gonslstently; observe the methods and principles in the Charities SORP: make ludgements and estimat88 that are reasonable and prudent. stale wh8ther applicable UK Acoounling Standards have been follow8d, sublect to any material departures disclosed and explained In the financial statem8nts', prepare the financial statements on the going concem basis unless It18 inapproprfate to presume that the charllable company wlll contlnue in business. The trustee5 are responslble for keeping adequatg acwunting records that are sufflclent to Show and explaln the charitabl8 company's trans8Ctlons and disclos6 with reasonable aGcuracy at any lime the financial p081tion of the charitabl8 company and enable Ihern to ensure that the financlal statements ¢omply with the Companles Act 2006. They are also responsible for safeguarding the assets of the charitable company and hence for taking reasonable steps for the preventlon and detection of fraud and other Irregularltie8. STATEMENT AS TO DISCLOSURE OF INFORMATION TO AUDITORS So far as the Iruslee5 are aware. there 15 no relevant informatlon of whfch the charltable company's auditors are unaware. Additionally, the trustees have taken all the necessary steps thal they ought to have taken a8 trustees in order to make themselves awa￿ of all relevant audit information and lo establish that the charitable company's auditors are awar8 of that informatlon. Thls report has been prepared In accordance wilh the provisions applicable to wmpanlgs enlltled to the small companies exemptlon. ON BEHALF OF THE BOARD: NH N H Bu¢han8n- Company SeC￿l8ry Date.. 1 + QO page 24

INDEPENDEFll AUDITOR'S REPORT TO THE MEMBERS OF ORCHESTRAS LIVE Opinion We have audited the financial statements of Orchestras Live (the 'charitable company,) for the year ended 31 March 2021 whlch Comprlse the Statement of Financial Activities. the Balance Sheet, the Statement of Cash Flows and the related notes to the financial statements, including a summary of significant accounting polici8s. The financial r8POrting framework that has b88n applied in their preparation is applicable law and United Kingdom Accounting Standards. including Financial Reporting Stsndard 102 The FinanGial Reporting Standard applicable In the UK and Republic of Ireland Iunlted Kingdom Generally Accepted Accounting PractiC81. In our opinion the finan￿81 statements: glve a true and falr view of the slate of the charltable company's affairs as al 31 March 2021 É of its incoming resources and application of resources. includlng Ils incom8 and expenditure, for th8 year then ended., have been properly prepared In a￿OrdanCe with Unit8d Kingdom Generally Accepted Accounl. Practice., and h8ve been prepared in accordance with the requirements of the Companies Act 2006. Ba818 for oplnion We conducted our audit in accordance with Intemauonal Standards on Audrting {UK) IISAS IUKI) 8nd applicable law. Our responsibilitles under those standards ar8 further descrlbed in the Audllors, responsibllitles for the audit of thg financial slal8ments section of our report. We are Independenl of the ch8ritable company In accordance with the ethiGal requirements that ar8 relevant to our aud￿ of the financial statements in the UK, including th8 FRC'S Ethlcal Stsndard, and we have fulfilled our other ethical responsibilities in accord8nce with these requirements. W8 believe that the audll evldence we have obtained is sufficient and appropriate lo provid8 8 b8sI8 for our oplnlon. Concluslons relatlng to golng concern In audiling the financial slalemenls, we have concluded that the trustees. use of the going concem b8818 of accounting in the prepar8tlon of the financial 8tstements is approprlat8. Based on the work we have perfomied, we h8ve not identified any materi81 uncertaintles relating to events or condillons that, individually orcolloctively, may cast Significant doubt on the charitable Company's ability to continue as a going concern for a period of at least twelve months from when the financial statsmenls are authorised for issue. Our responslblliUes and the responsibili￿e8 of the trustèes with rèsp6ct to golng concem are described in the relevant sections of this report. Other Informatlon The trustees are responsible for the other information. The other infomation comprises the Information included in the Annual Report, other than the financi81 statements and our Report of the Independent Auditors thereon. Our opinion on the financial statements does not cover the other Infomiation and. except to th8 extent otherwise oxplicitly staled In our report, we do not express any form of assurance conclusion thereon. In connection wrth our audit of the financial statements, our responsibility is to read the other Information and, in doing so, consider whether the olher infomiation is materially inconsistent with the financial $latements or our knowledge oblained in the audit or otherwise appears to ba materially misstated. If we identify such material inconsist8nci8s or apparent materfal misslatements, we are required to detemiine whether this gives rise to a material misstatement in the financial statements themselves. If, based on the work we have performed, we conclude that there is a material rnisstatement of this other infomiation. we are required lo report that fact. We hav8 nothing to report in this regard. page 25

Oplnlons on other matters prescrlbed by the Companles Act 2006 In our Dpinion, based on the work undertaken in th& course of the audit.. th8 information given in the Report of the Trustees for the financial year for which the financial statements a￿ prepared 1$ consistent with the financial statements- and the Fieport of the Trustees has been prepared In accordance with applicabl818gal requirements. Matters on which we are required to report by exception In the light of the knowledg6 and understanding of the charltable company and its environment obtalned in the course of the audit, we have not identified material misstatements in the Report of the Trustee5. We have nothlng to rek))rt In respect of the followng matters thre the Cornpani85 Act 2006 r8quires us to raport to you ff. in our opinion: adequale accountlng records have not been kept or r8tum8 adequate for our audit have not been reGelv8d from branches not visited by us,. or the flnanclal statements are not in agreement with the accounting records and relums,. or certaln disclosurès of trust885' remuneration speclfied by law ar6 not made; or W8 have not recelved all th8 information and expLqnalions w8 r8quire for our audlt,. or the trust8es were not entitled to tak8 advantaga of the 8mall companies exemption from th8 requirement to prepare a Strategic Report or in preparing the Report of the Tnjstees. ReBpon81bllltle8 of trustseg AS explained more fully in the Statement of Truslee$' Respongibllitles. the trustees (who are also the direGtors of the charitable company for the purposes of company law) are responsible for the pr6paratlon of the flnanclal statements and for being satisfied that they give a true and f8lr vlew, and for such internal control as the Iruslees délemiine is n8c88sary to 8nabb the preparallon of financial statements that are frfjo from material misstatement, whether due to fraud or error. In preparing the financial slalements, the trustees are responsible for a8sessing the ch8r118ble company's abllity to continue as a going ¢onc8rn. dlsclosing. as applicable, matt8rs r81aled to golng ¢oncem and using the going con¢em basls of accounting unless the trustees either Intend to Ilquldate the charitable company or to cease operations, or have no reg11sli¢ altemative but lo do so. Our regponslbllltles lor the audlt of the Ilnan¢lal ststements Our objectives are lo obtaln reasonable assurance about whether the flnanci81 st8temenls as whole are free from ma18rial mlsststsmenl, whether due to fraud or error, and lo Issue a Report of the Independent Auditors that inGludes our opinion. Reasonable assurance is a high lavel of assurance, but is not a guarantee that an audit conducted In accordance with ISAS IUKI wlll alway8 detect a material misstatement when it exists. Misstaternent8 can arise from fraud or error and are considered material if, individually or in the aggregate. they could reasonably be expected to inffuence the economic decislons of users taken on the basis of these financl81 statements. Irregularlties, Including fraud, are instances of non-compliance with laws and regulatlons. We deslgn proc8dures In line wllh our responsibilttles, ouuined above. to detect material Tf113slatements in respect of Irregular￿e3, including fraud. The extent lo which our procedures are capable of detecting irr8gularitie8, including fraud is detailed below.. We considered the opportunities and incentives that may exist wthin the charity for fraud and identified the greatest potential ft)r fraud in the following areas.. timing of recognition of income, posting of unusual joum81s along with complex transactions and manipulating the Charity's key performance indicators to meet tsrgets. We discussed these risks with client m8nagoment, designed audit procedures to test the timing of income. tested a sample of journals to confirm they were appropriate and reviewed areas of judgement for indicators of management bias to address these dsks. A further description of our responsibiltlies for the audlt of the finandal st8tements Is located on the Financial Reportlng Council's website at www.frc.org.uklauditorsrespon$ibilitie$. This description forms part of our Report of the IrKlependent Auditors. page 26

Use of our report This report Is made solely lo the Charitable company's members. as a body, in accordance with Chapter 3 of Part 16 ofthe Companies Act 2006. Ouraudil wort( has been undertaken so that we might state to the charitable company's members those matt8rs we are required to state to th8m in an audilors. report and for no other purpose. To the fullest extent permitted by law. we do not accepl or assume responsibility to anyone other than the charitable company and the charltable compan￿$ members as a t*)dy, for our audit work. for this report. or for the oplnions we have formed. Andrew Cllfford FCA Senior Statutory Auditor For and on behalf of: DNG Dove Naish LLP Statutory Auditor Eagle Housé 28 Billing Road Northampton NN1 5AJ Dale.. page 27

ORCHESTRAS LIVE

STATEMENT OF FINANCIAL ACTIVITIES (INCLUDING INCOME AND EXPENDITURE ACCOUNT) FOR THE YEAR ENDED 31 MARCH 2021

Notes
INCOME FROM:
Grants, donations and legacies
2
Charitable activities
3
Investments
4
Total income
EXPENDITURE ON:
Raising funds
5
Charitable activities
6
Total expenditure
NET INCOME / (EXPENDITURE) BEFORE TAX
8
Corporation tax credit
10
NET INCOME / (EXPENDITURE)
Transfers between funds
15
Net outgoing resources before other
recognised gains and losses
Other recognised gains and losses
Actuarial gains / (losses) on defined benefit
pension schemes
20
Net movement in funds
Total funds brought forward
Total funds carried forward
15		 2021
£
619,136
152,114
3,345
774,595
45,925
504,809
550,734
223,861
10,996
234,857
-
234,857
( 80,000)
154,857
340,368
495,225
Unrestricted
funds		 2021
Restricted
funds
£
157,441
-
-
157,441
-
55,401
55,401
102,040
-
102,040
-
102,040
-
102,040
34,376
136,416		 2021
Total
funds
£
776,577
152,114
3,345
932,036
45,925
560,210
606,135
325,901
10,996
336,897
-
336,897
( 80,000)
256,897
374,744
631,641		 2020
Total
funds
£
636,622
162,005
4,708
803,335
45,426
883,906
929,332
( 125,997)
8,435
( 117,562)
-
( 117,562)
87,000
( 30,562)
405,306
374,744

page 28

ORCHESTRAS LIVE 8ALANCE SHEEr AS AT 31 MARCH 2021 2021 2021 2020 2020 Not•s Flxed assets Tan9ibl8 as8els 11 Current assets Debtors.. falling du8 wlhln one year Debtors.. falling due after more than one year CA$h at bank and In hand Cash on deposit 12 12 23.3eo 60,000 29.681 840.950 65,e14 eo,000 30,442 514,533 953.971 870.589 Llabllltl08 Cr8dilors.' #mounts falling due ￿thIn one year 13 { 81.6891 { 206,8451 Net ¢urrent 1188et8 872,282 463,744 c￿ls1or$.. 8mounts falllng due after more than one year 14 147,641) Nat a888ts excludlng penslon Ilablllty 824,641 483,744 Defined beneflt penslon scheme Ilabillty (193,0001 189,0001 Total not assgts 631,641 374,744 Tho funds of the charlty Unrestricted funds Pension reserve Resldcled funds 688.225 1193,000) 136,418 429,368 189,0001 34,376 Tot*1 ch8rlty funds 631.641 374,744 The financS8l statements were approved by the Boanj of Tnjstees on . sSgned on its behalf by. and were T Sloller- TrusteB Company number.. 5988211 pag8 29

ORCHESTRAS LIVE

STATEMENT OF CASH FLOWS FOR THE YEAR ENDED 31 MARCH 2021

2021
2021
Notes
£
£
Cash flows from operating activities:
Net cash provided by / (used in) operating activities
A
271,543
Cash flows from investing activities:
Interest received
4,093
Net cash provided by investing activities
4,093
Cash flows from financing activities:
Cash inflows from new borrowing
50,000
Net cash provided by financing activities
50,000
Change in cash and cash equivalents in the year
325,636
Cash and cash equivalents at the beginning of the year
544,975
Cash and cash equivalents at the end of the year
870,611
Represented by:
Cash at bank and in hand
29,661
Cash on deposit
840,950
870,611
A. Reconciliation of net expenditure to net cash flow from operating activities
Net income / (expenditure) for the year
336,897
As per the Statement of Financial Activities
Adjustments for:
Depreciation charges
-
Interest receivable
( 3,345)
Defined benefit pension scheme - finance cost
1,000
Defined benefit pension scheme - service cost
23,000
Decrease / (increase) in debtors
41,506
(Decrease) / increase in creditors
( 127,515)
( 65,354)
Net cash provided by / (used in) operating activities
271,543		 2020
£
4,264
-
-
( 4,708)
2,000
32,000
( 16,931)
91,064		 2020
£
( 14,137)
4,264
-
( 9,873)
554,848
544,975
30,442
514,533
544,975
( 117,562)
103,425
( 14,137)

page 30

ORCHESTRAS LIVE

NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2021

1 ACCOUNTING POLICIES

The principal accounting policies adopted, judgements and key sources of estimation uncertainty in the preparation of the financial statements are as follows:

Basis of preparation

The financial statements have been prepared in accordance with "Accounting and Reporting by Charities: Statement of Recommended Practice applicable to charities preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102)" (effective 1 January 2019) - (Charities SORP (FRS 102)), the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102) and the Companies Act 2006.

Orchestras Live meets the definition of a public benefit entity under FRS 102. Assets and liabilities are initially recognised at historical cost or transaction value unless otherwise stated in the relevant accounting policy note(s).

There are no material uncertainties about the charity's ability to continue, and so the going concern basis of accounting has been adopted.

The financial statements are presented in pounds sterling and rounded to the nearest pound.

Income

Income from donations and grants is recognised when the charity is entitled to the funds, the receipt is probable and the amount can be measured reliably. For donations, this is usually on receipt. For grants, this is usually when a formal offer is made in writing, unless the grant contains terms and conditions outside of the charity's control which must be met before the charity is entitled to the funds. Where grants are received in response to a proposal including a budgeted timescale, such that the timescale for the expenditure is implicit in the grant agreement, the income is recognised in accordance with that timescale.

Income from charitable activities is recognised over the period to which the income relates. Partnership investments are usually invoiced for a period coinciding with the charity's accounting year. Where partnership investments are invoiced in advance, the income is deferred. Promoter and other partner contributions are invoiced for specific events and are recognised when the event takes place.

The Trustees consider that the charity has one charitable activity as described in the Trustees' Report.

Investment income is recognised when receivable. Interest is accounted for as accrued income where is it due but has not yet been credited.

Contributions in kind relate to resources and venue hire donated for specific purposes or projects and are recognised within both incoming resources and resources expended. Contributions in kind are recognised when the charity has control over the items, any conditions associated with them have been met, the receipt of economic benefit is probable and the amount can be measured reliably. The donations are valued on the basis of the market value of the resources and venue hire received.

page 31

ORCHESTRAS LIVE

NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2021

1 ACCOUNTING POLICIES continued

Expenditure

Expenditure is recognised when a present legal or constructive obligation exists at the balance sheet date as a result of a past event, it is probable that a transfer of economic benefits will be required to settle the obligation, and the amount can be estimated reliably.

Expenditure has been classified under headings that aggregate all costs related to the category:

(i) Expenditure on raising funds includes an allocation of the staff costs of the charity's funding development manager and the associated travel and subsistence expenses.

(ii) Expenditure on charitable activities includes the cost of projects funded directly and projects funded by way of grants to organisations, the staff costs of the partnership managers and an allocation of the staff costs of the Chief Executive Officer. Support costs related to the charitable activities are included.

Staff costs have been allocated to expenditure headings on the basis of an estimate of the amount of time spent by staff members in each area.

Support costs have been allocated to the single material activity undertaken by the charity.

Support costs are those functions that assist the work of the charity but do not directly relate to the charitable activities, and include governance costs.

Taxation

The charity is exempt from corporation tax on its charitable activities. It is able to claim Orchestra Tax Relief for qualifying projects.

Fund accounting

Unrestricted funds can be used in accordance with the charitable objectives at the discretion of the Trustees.

Designated funds are unrestricted funds which are set aside by the Trustees for specific purposes.

Restricted funds can only be used for the particular restricted purposes within the objects of the charity. Restrictions arise when specified by the donor or when funds are raised for particular restricted purposes.

Tangible fixed assets and depreciation

Tangible fixed assets are stated at cost less depreciation. Depreciation is provided at rates calculated to write off the cost less estimated realisable value of each asset over its expected useful life, as follows:

Office equipment:

Fully depreciated

Assets costing less than £1,000 are not capitalised.

Debtors

Trade and other debtors are recognised at the settlement amount due. Prepayments are recognised at the invoiced cost prepaid.

Cash at bank and in hand

Cash and bank and in hand includes cash on instant-access current account and in hand.

page 32

ORCHESTRAS LIVE

NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2021

1 ACCOUNTING POLICIES continued

Cash on deposit

Cash on deposit includes cash in deposit or savings accounts and on accounts requiring notice before withdrawals can be made.

Creditors

Creditors are recognised when a present legal or constructive obligation exists at the balance sheet date as a result of a past event, it is probable that a transfer of economic benefits will be required to settle the obligation, and the amount can be estimated reliably. Creditors are recognised at the settlement amount.

Financial instruments

The charity only has financial instruments of a kind that qualify as basic financial instruments. Short term basic financial instruments are initially recognised at transaction value and subsequently measured at their settlement value.

Pensions

The charity operates a defined benefit pension scheme for employees administered by Essex County Council which is part of the Local Government Pension Scheme (LGPS).

Contributions payable to employees' pension schemes are recognised in the Statement of Financial Activities in the year they are payable.

The LGPS is a funded scheme and the assets are held separately from those of the charity in separate trusteeadministered funds. Pension scheme assets are measured at fair value and liabilities are measured on an actuarial basis using the projected unit credit method and discounted at a rate equivalent to the current rate of return on a high quality corporate bond of equivalent term and currency to the liabilities. The actuarial valuations are obtained at least triennially and are updated at each balance sheet date.

The amounts charged to the Statement of Financial Activities are the current service costs and the costs of scheme introductions, benefit changes, settlements and curtailments. They are included as part of staff costs as incurred. Net interest on the net defined benefit liability is also recognised in the Statement of Financial Activities and comprises the interest cost on the defined benefit obligation and interest income on the scheme assets, calculated by multiplying the fair value of the scheme assets at the beginning of the period by the rate used to discount the benefit obligations. The difference between the interest income on the scheme assets and the actual return on the scheme assets is recognised in other recognised gains and losses.

Actuarial gains and losses are recognised immediately in other recognised gains and losses.

Status

Orchestras Live is a charitable company limited by guarantee incorporated in England and Wales. In the event of the company being wound up, the liability in respect of the guarantee is limited to £1 per member of the charity. The address of the registered office is Duke Studios, 3 Sheaf Street, Leeds LS10 1HD.

page 33

ORCHESTRAS LIVE

NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2021

2 INCOME FROM GRANTS, DONATIONS AND LEGACIES

Arts Council England National Portfolio grant
Charitable foundations and other donations:
Culture Recovery Fund
Darlington Borough Council
Derbyshire County Council
The D'Oyly Carte Charitable Trust
East Riding Music Education Hub
Esmée Fairbairn Foundation
Foyle Foundation
Garfield Weston Foundation
Granada Foundation
Halle Concerts Society
The Harold Hyman Wingate Foundation
Inspire Culture
Mayfield Valley Arts Trust
NYMAZ
Peter Sowerby Foundation
Postcode Community Trust
Radcliffe Trust
Scops Arts Trust
Selby Town Council
South Lakeland Council
Weston Culture Fund
The Wixamtree Trust
Unrestricted donations
Project and conference contributions in kind		 2021
£
487,950
92,846
4,214
6,377
3,000
-
10,000
-
25,000
-
-
3,750
-
5,000
3,000
11,500
-
3,500
-
1,000
-
107,500
5,000
340
6,600
776,577		 2020
£
479,134
-
1,750
-
3,000
4,000
20,000
20,000
25,000
2,000
200
-
1,985
-
2,635
2,625
20,000
-
30,000
-
2,000
-
5,000
-
17,293
636,622

The comparative figure includes restricted income of £109,487.

3 INCOME FROM CHARITABLE ACTIVITIES

Partnership investments
Promoter and other partner contributions
Consultancy and commission fees		 2021
£
151,673
-
441
152,114		 2020
£
159,405
100
2,500
162,005

page 34

ORCHESTRAS LIVE

NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2021

4 INCOME FROM INVESTMENTS

INCOME FROM INVESTMENTS
Essex Pension Fund bond interest
Hodge Bank deposit interest
Charity Bank deposit interest
CAF Bank and other interest
EXPENDITURE ON RAISING FUNDS
Staff costs
Other fundraising costs		 2021
£
-
2,051
1,244
50
3,345
2021
£
44,833
1,092
45,925		 2020
£
325
2,553
1,690
140
4,708
2020
£
43,443
1,983
45,426

5 EXPENDITURE ON RAISING FUNDS

6 EXPENDITURE ON CHARITABLE ACTIVITIES

Activity costs funded directly
Activity costs funded by grants
Project costs in kind
Direct costs of consultancy services
Staff costs
Allocation of support costs (note 7)		 2021
£
31,466
57,312
6,600
-
216,391
248,441
560,210		 2020
£
76,329
256,844
17,293
-
215,612
317,828
883,906

Activities funded directly relate to those events for which Orchestras Live is the creative producer or coproducer.

Orchestras Live works in partnership with local authorities (8 grantees totalling £30,950 (2020: 14 grantees totalling £100,020)), music education hubs and other not for profit partners (11 grantees totalling £26,362 (2020: 23 grantees totalling £156,824)) to deliver its charitable activities. To enable high quality, live orchestral music to take place in under-served parts of England, Orchestras Live provides grants to these partner organisations to support the costs of delivering activity. Grants are made only to organisations working in partnership with Orchestras Live, collaborating closely to ensure the activity delivers Orchestras Live’s objectives. There were no individually material grants.

The comparative figure includes expenditure from restricted funds of £111,603.

page 35

ORCHESTRAS LIVE

NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2021

7 SUPPORT COSTS

Staff costs
Staff recruitment
Defined benefit pension finance cost - see Note 20
Training and conferences
Premises costs
PR and communications
Website development
IT and computer costs
Printing and stationery
Postage and telecommunications
Travelling and subsistence
Accountancy fees and payroll
Legal and professional fees
Bank charges
Trustee indemnity insurance
Miscellaneous expenses
Depreciation
Governance costs:
Trustees' expenses for attending meetings
Trustee board development
Auditors' remuneration for audit services
FRS 102 report and actuarial valuation costs
8
NET INCOME / (EXPENDITURE)
Net income / (expenditure) is stated after charging:
Auditors' remuneration for audit services
Rent paid under operating leases		 2021
£
196,245
120
1,000
690
6,615
8,226
-
1,902
149
943
( 20)
24,933
786
75
-
831
-
( 139)
650
4,200
1,235
248,441
2021
£
4,200
-		 2020
£
197,548
830
2,000
2,128
28,586
7,423
16,434
3,302
700
871
21,042
24,765
1,544
61
187
1,058
-
3,229
295
3,975
1,850
317,828
2020
£
3,975
694

page 36

ORCHESTRAS LIVE

NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2021

9
STAFF COSTS
Gross salaries
National Insurance contributions
Pension contributions
Defined benefit pension service cost - see Note 20
Pension scheme administration		 2021
£
320,513
29,636
82,750
23,000
1,570
457,469		 2020
£
313,832
29,939
79,290
32,000
1,542
456,603

Pension contributions relate wholly to defined benefit schemes. At the year end accrued employer contributions were £1,313 (2020: £1,152).

The average number of employees was nine (2020: nine). One employee received employment benefits (excluding employer pension contributions) in the range £80,001 to £90,000 in the year (2020: one employee in the range £70,001 to £80,000). During the year all employees accrued benefits under a defined benefit scheme.

10 TAXATION
Orchestra Tax relief - repayable credit
11 TANGIBLE FIXED ASSETS
Cost
Brought forward at 1 April 2020
Disposals
Carried forward at 31 March 2021
Depreciation
Brought forward at 1 April 2020
Eliminated on disposal
Carried forward at 31 March 2021
Net book value
At 31 March 2021
At 31 March 2020		 2021
£
10,996
Fixtures,
fittings and
equipment
£
12,084
( 8,663)
3,421
12,084
( 8,663)
3,421
-
-		 2020
£
8,435
Total
£
12,084
( 8,663)
3,421
12,084
( 8,663)
3,421
-
-

page 37

ORCHESTRAS LIVE

NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2021

12 DEBTORS
Amounts falling due within one year:
Trade debtors
Tax recoverable
Other debtors, prepayments and accrued income
Amounts falling due after more than one year:
Essex Pension Fund bond
13 CREDITORS: AMOUNTS FALLING DUE WITHIN ONE YEAR
Covid 19 bounce back loan due within one year
Trade creditors
Other tax and social security
Accruals
Deferred income
Deferred income comprises:
Income deferred from the previous year
Released to the statement of financial activities
Arising during the current year:
Amounts invoiced in advance
Grants required to be spent in future periods
14 CREDITORS: AMOUNTS FALLING DUE AFTER MORE THAN ONE YEAR
Covid 19 bounce back loan due after more than one year		 2021
£
1,200
10,996
11,164
23,360
60,000
2021
£
2,359
8,049
10,525
46,497
14,259
81,689
81,164
( 81,164)
3,384
10,875
14,259
2021
£
47,641
47,641		 2020
£
44,762
8,435
12,417
65,614
60,000
2020
£
-
17,613
11,813
96,255
81,164
206,845
21,734
( 21,734)
44,350
36,814
81,164
2020
£
-
-

page 38

ORCHESTRAS LIVE

NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2021

15 MOVEMENT IN FUNDS - CURRENT YEAR
Unrestricted funds
General Fund
PR & Communications (designated)
Partnership Fund (designated)
Programme Fund (designated)
Projects Fund (designated)
Consultancy & Commission (designated)
Pension reserve
Restricted funds
Partnership Fund (restricted)
Foyle Foundation
Scops Arts Trust
Peter Sowerby Foundation
Weston Culture Fund
Projects
TOTAL FUNDS		 At 1 April
2020
£
110,579
-
304,396
8,500
5,893
-
429,368
( 89,000)
340,368
2,239
5,250
10,000
625
-
16,262
34,376
374,744		 Net
movement in
funds
£
( 308,366)
-
129,779
487,950
( 50,947)
441
258,857
( 104,000)
154,857
( 1,000)
( 5,250)
( 5,000)
8,500
102,500
2,290
102,040
256,897		 Transfers
between
funds
£
372,508
6,079
( 69,903)
( 433,170)
124,927
( 441)
-
-
-
-
-
-
-
-
-
-
-		 At 31
March 2021
£
174,721
6,079
364,272
63,280
79,873
-
688,225
( 193,000)
495,225
1,239
-
5,000
9,125
102,500
18,552
136,416
631,641

The deficit on the pension reserve is partly covered by the bond held with the Essex Pension Fund - see Note 12.

page 39

ORCHESTRAS LIVE

NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2021

15 MOVEMENT IN FUNDS - CURRENT YEAR continued

Net movement in funds, included in the above, are as follows:

Unrestricted funds
General Fund
Pension reserve
Partnership Fund (designated)
Programme Fund (designated)
Projects Fund (designated)
Consultancy & Commission (designated)
Restricted funds
Partnership Fund (restricted)
Foyle Foundation
Scops Arts Trust
Peter Sowerby Foundation
Weston Culture Fund
Projects
TOTAL FUNDS		 Incoming
resources
£
156,425
-
129,779
487,950
-
441
774,595
6,377
-
-
11,500
107,500
32,064
157,441
932,036		 Resources
expended
£
( 475,787)
( 24,000)
-
-
( 50,947)
-
( 550,734)
( 7,377)
( 5,250)
( 5,000)
( 3,000)
( 5,000)
( 29,774)
( 55,401)
( 606,135)		 Other
recognised
gains /
losses &
tax
£
10,996
( 80,000)
-
-
-
-
( 69,004)
-
-
-
-
-
-
-
( 69,004)		 Movement
before
transfers
£
( 308,366)
( 104,000)
129,779
487,950
( 50,947)
441
154,857
( 1,000)
( 5,250)
( 5,000)
8,500
102,500
2,290
102,040
256,897

The purpose and planned use of the material designated funds is as follows:

Partnership Fund

The Partnership Fund includes invoiced partnership investments which are set aside by Trustees for activity involving those partners. Allocations from this fund are made to the Projects Fund when events are planned. Balances with partners which have not moved for two years or more are kept under review and may be released if further activity with that partner is unlikely.

Programme Fund

The Programme Fund receives the Arts Council England National Portfolio grant, and transfers are made both to the General Fund to cover staff and overhead costs, and to the Projects Fund to support events.

Projects Fund

The Projects Fund is used to track income and expenditure for individual events. It includes invoiced promoter and other partner contributions to specific events, as well as allocations from the Partnership Fund and Programme Fund, and event expenditure is paid out. The year end balance comprises funding allocated to events which will take place in the ensuing financial year.

Projects which are funded by restricted grants and donations are dealt with as separate restricted funds.

page 40

ORCHESTRAS LIVE

NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2021

15 MOVEMENT IN FUNDS - CURRENT YEAR continued

The restricted funds arise from grants and donations to fund particular projects or items of expenditure, and unused income is carried forward to cover future expenditure on those areas. Details of restricted funds active during the year are as follows:

Partnership Fund (restricted)

This fund contains grants received from Essex County Council to be used to support activity in Essex.

Foyle Foundation

This fund contains a three-year grant for projects in the North of England.

Scops Arts Trust

This fund contains a single year grant supporting Classically Yours, project development in the North and our Regional Producer – North post.

Peter Sowerby Foundation

This fund contains a grant to support a 2-year programme of early years projects in North Yorkshire.

Weston Culture Fund

The purpose of this fund is to support a range of orchestral project activity with under-invested communities as part of Garfield Weston Foundation's COVID related support for the sector to restart its work, refresh activities and re-engage audiences.

Project Funds

These funds contain grants and donations contributed towards specific projects.

page 41

ORCHESTRAS LIVE

NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2021

16 MOVEMENT IN FUNDS - PRIOR YEAR
Unrestricted funds
General Fund
Partnership Fund (designated)
Programme Fund (designated)
Projects Fund (designated)
Consultancy & Commission (designated)
Pension reserve
Restricted funds
Partnership Fund (restricted)
Foyle Foundation
Scops Art Trust
Peter Sowerby Foundation
Projects
TOTAL FUNDS		 At 1 April
2019
£
196,534
305,280
9,000
-
-
510,814
( 142,000)
368,814
9,942
23,500
-
-
3,050
36,492
405,306		 Net
movement in
funds
£
( 436,274)
124,956
479,134
( 251,762)
2,500
( 81,446)
53,000
( 28,446)
( 7,703)
( 18,250)
10,000
625
13,212
( 2,116)
( 30,562)		 Transfers
between
funds
£
350,319
( 125,840)
( 479,634)
257,655
( 2,500)
-
-
-
-
-
-
-
-
-
-		 At 31
March 2020
£
110,579
304,396
8,500
5,893
-
429,368
( 89,000)
340,368
2,239
5,250
10,000
625
16,262
34,376
374,744

page 42

ORCHESTRAS LIVE

NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2021

16 MOVEMENT IN FUNDS - PRIOR YEAR continued

Net movement in funds, included in the above, are as follows:

Unrestricted funds
General Fund
Pension reserve
Partnership Fund (designated)
Programme Fund (designated)
Projects Fund (designated)
Consultancy & Commission (designated)
Restricted funds
Partnership Fund (restricted)
Foyle Foundation
Scops Art Trust
Peter Sowerby Foundation
Projects
TOTAL FUNDS		 Incoming
resources
£
87,158
-
124,956
479,134
100
2,500
693,848
-
20,000
30,000
2,625
56,862
109,487
803,335		 Resources
expended
£
( 531,867)
( 34,000)
-
-
( 251,862)
-
( 817,729)
( 7,703)
( 38,250)
( 20,000)
( 2,000)
( 43,650)
( 111,603)
( 929,332)		 Other
recognised
gains /
losses
£
8,435
87,000
-
-
-
-
95,435
-
-
-
-
-
-
95,435		 Movement
before
transfers
£
( 436,274)
53,000
124,956
479,134
( 251,762)
2,500
( 28,446)
( 7,703)
( 18,250)
10,000
625
13,212
( 2,116)
( 30,562)

Details of designated and restricted funds are as shown in Note 15.

17 ANALYSIS OF NET ASSETS BETWEEN FUNDS - CURRENT YEAR

Fund balances at 31 March 2021 are represented by:
Tangible fixed assets
Net current assets
Creditors: amounts falling due after more than one year
Defined benefit pension scheme provision		 Unrestricted
funds
£
-
735,866
( 47,641)
( 193,000)
495,225		 Restricted
funds
£
-
136,416
-
-
136,416		 Total
funds
£
-
872,282
( 47,641)
( 193,000)
631,641

page 43

ORCHESTRAS LIVE

NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2021

18 ANALYSIS OF NET ASSETS BETWEEN FUNDS - PRIOR YEAR

ANALYSIS OF NET ASSETS BETWEEN FUNDS - PRIOR YEAR
Fund balances at 31 March 2020 are represented by:
Tangible fixed assets
Net current assets
Defined benefit pension scheme provision		 Unrestricted
funds
£
-
429,368
( 89,000)
340,368		 Restricted
funds
£
-
34,376
-
34,376		 Total
funds
£
-
463,744
( 89,000)
374,744

19 RELATED PARTY TRANSACTIONS

The Board of Trustees and the Chief Executive Officer are considered to be the charity's key management personnel.

There were no Trustees' remuneration or other benefits during the current or prior period.

Trustees refunded expenses of £139 (2020: Trustees were reimbursed expenses of £3,099), in respect of two (2020: twelve) Trustees for travel and subsistence costs. In addition, conference attendance, training, venue hire and meeting refreshment costs amounting to £650 (2020: £425) were met by the charity on behalf of the Board of Trustees.

The charity received donations from other charities with key management personnel in common amounting to £5,000 (2020: £2,635) with no conditions attached.

The total amount of employee benefits (including employer's pension contributions) received by key management personnel during the year was £98,622 (2020: £96,418).

page 44

ORCHESTRAS LIVE

NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2021

20 PENSION OBLIGATIONS

During the year, all of the charity's employees were members of a defined benefit pension scheme which is part of the Local Government Pension Scheme (LGPS), administered by Essex County Council. The pension costs are assessed in accordance with advice from independent qualified actuaries. The last actuarial valuation of the LGPS was 31 March 2019 and the next is due on 31 March 2022.

There were no pension contributions outstanding or prepaid at the beginning or end of the financial year.

The LGPS is a funded defined benefit scheme, with the assets held in separate trustee-administered funds.

The total contributions paid for the year ended 31 March 2021 were £107,980 (2020: £104,260), of which employer's contributions were £82,589 (2020: £79,418) and employees' contributions were £25,391 (2020: £24,842). The agreed contribution rates for future years are 24.1% for 2021/22 plus £5,600.

Principal actuarial assumptions: At 31
March 2021		 At 31
March
2020
Rate of increase in salaries 2.75% 1.70%
Rate of increase for pensions in payment / inflation 2.75% 1.70%
Discount rate for scheme liabilities 2.00% 2.35%
Inflation assumption (CPI) 2.75% 1.70%

The current mortality assumptions include sufficient allowance for future improvements in mortality rates. The assumed life expectations on retirement at age 65 are:

At 31
March 2021		 At 31
March
2020
Years Years
Retiring today
Males 21.60 21.80
Females 23.60 23.70
Retiring in 20 years
Males 22.90 23.20
Females 25.10 25.20

page 45

NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2021

ORCHESTRAS LIVE

20 PENSION OBLIGATIONS continued

The charity's share of the assets and liabilities of the scheme, and the expected rates of return, were:

Equities
Gilts
Bonds
Property
Cash
Alternative assets
Other managed funds
Total market value of assets
Present value of scheme liabilities - funded
Deficit in the scheme		 Fair value
at 31 March
2021
£
954,000
40,000
77,000
110,000
73,000
178,000
112,000
1,544,000
( 193,000)
( 1,737,000)		 Fair value
at 31 March
2020
£
652,000
48,000
67,000
100,000
46,000
128,000
71,000
1,112,000
( 1,201,000)
( 89,000)

The expected return on plan's assets is based on the long-term future expected investment return for each asset class as at the beginning of the period. The returns on gilts and other bonds are assumed to be the gilt yield and corporate bond yield (with an adjustment to reflect default risk) respectively at the relevant date. The returns on equities and property are then assumed to be a margin above gilt yields.

The actual return on scheme assets was £333,000 (2020: £(57,000)).

Amounts recognised in the Statement of Financial Activities:

Amounts recognised in the Statement of Financial Activities:
Current service cost (net of employee contributions)
Net interest cost / (credit)
Administration expenses
Total operating charge		 2021
£
105,000
1,000
1,000
107,000		 2020
£
111,000
2,000
-
113,000

page 46

ORCHESTRAS LIVE

NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2021

20 PENSION OBLIGATIONS continued

Movements in the present value of defined benefit obligations were as follows:

At 1 April 2020
Current service cost
Interest cost
Change in financial assumptions
Change in demographic assumptions
Experience gain on defined benefit obligation
Benefits paid net of transfers in
Past service costs, including curtailments
Employee contributions
At 31 March 2021		 2021
£
1,201,000
103,000
28,000
410,000
( 14,000)
( 10,000)
( 8,000)
2,000
25,000
1,737,000		 2020
£
1,210,000
111,000
29,000
( 114,000)
( 13,000)
( 39,000)
( 8,000)
-
25,000
1,201,000

Movements in the fair value of the charity's share of the scheme assets were:

At 1 April 2020
Interest income
Return on assets less interest
Other actuarial losses
Administration expenses
Employer contributions
Employee contributions
Benefits paid net of transfers in
At 31 March 2021		 2021
£
1,112,000
27,000
306,000
-
( 1,000)
83,000
25,000
( 8,000)
1,544,000		 2020
£
1,068,000
27,000
( 84,000)
5,000
-
79,000
25,000
( 8,000)
1,112,000

The estimated value of employer contributions for the year ending 31 March 2022 is £83,000.

page 47