THE HANOVER BAND FOUNDATION
Registered charity number: 1138061
TRUSTEES' REPORT AND ACCOUNTS FOR THE YEAR ENDED 30 JUNE 2022
THE HANOVER BAND FOUNDATION
CONTENTS
| Page | |
|---|---|
| Charity information | 1 |
| The Hanover Band - background and ethos | 2 to 3 |
| Trustees' Report | 4 to 6 |
| Statement of Financial Activities | 7 |
| Balance sheet | 8 |
| Notes to the financial statements | 9 to 11 |
| Independent examiner's report | 12 |
THE HANOVER BAND FOUNDATION
CHARITY INFORMATION
| Chairman | Laurie Watt |
|---|---|
| Trustees | Laurie Watt |
| Ken Bodfish OBE | |
| David Cooper MBA FCA | |
| Hilary Birch (retired as trustee) | |
| Howell James CBE (retired as trustee) | |
| Dr John Godfrey DL (retired as trustee) | |
| Charity Registration Number | 1138061 |
| Principal Address | Tarrant Place |
| 65 Tarrant Place | |
| Arundel | |
| BN18 9DJ | |
| Website | www.thehanoverband.com |
| Accountants | Spofforth Partners Limited |
| Byne Cottage | |
| Manley's Hill, Storrington | |
| West Sussex | |
| RH20 4BN |
1
THE HANOVER BAND FOUNDATION
THE HANOVER BAND BACKGROUND AND ETHOS
The Hanover Band was formed in 1980 since when its primary objective has been to enable audiences to gain a better feeling for what earlier music actually sounded like when heard in favourable circumstances. Historical instruments are key to this; as one prominent conductor recently put it, 'they have more colour, shape and less weight than modern instruments. They are more tangy, more piquant. We can play full out with the greatest passion, and still sound like Mozart.'
Since musicians work within the medium of sound, the challenge of recreating earlier performances is formidable. Indeed, as Mozart's contemporary Daniel Türk wrote in 1789, 'some musical effects cannot be described; they must be heard.' There is of course a sense in which the entire history of music disappeared before recording was invented during the latter stages of the nineteenth century. Even a large library of musical dictionaries, biographies and analytical tomes cannot do more than hint at how music used to sound. Although such contextual information is useful, one remains only too aware that words are inadequate to communicate certain aspects of art, whether quality of timbre or those tiny differences of emphasis and timing that distinguish a great performance from a merely good one.
An earlier composer's intentions (or even expectations) can be difficult to determine. The Hanover Band draws on a huge variety of historical evidence, including literary sources, archives, treatises, autographs, early editions and iconography. Research into musical style informs its approach to national idioms, articulation, melodic inflection, accentuation, tempo, ornamentation, embellishment and improvisation. It takes rigorous account of conditions and practices in terms of historical pitch, temperament, venues and programmes, orchestral constitution and musical direction. The Band's ethos recognises that the use of period instruments must be complemented by musical understanding, an awareness of social and cultural context, acoustical considerations and concert-giving situations.
Over a decade ago one celebrated critic noted that 'there is no worthwhile, thoughtful and intellectually stimulating and musically adventurous performance going on today that has not been touched by the period instrument movement.' The Hanover Band under its inspirational artistic director Caroline Brown has played a major part in bringing about this state of affairs. In the very year of the Band's foundation The New Grove Dictionary of Music and Musicians (1980) noted how revealing it would be to hear Beethoven symphonies on period instruments, but added that 'the practical difficulties of assembling and equipping such an orchestra would be almost insuperable…'. Within two years the Band had produced an LP of the First Symphony and during the 1980s recorded a complete cycle; it is no cause for embarrassment 30 years later that one reviewer of the time described the disc simply as 'Beethoven as he would have heard it'. Throughout the Band's many recordings and concert tours, Caroline has insisted on maintaining the Band's original pioneering spirit, never succumbing to the 'standardised' period style which others have so readily embraced. Indeed, The Hanover Band's distinctive approach lies well outside Richard Taruskin's notorious description of period performance as 'the most modern sound around.'
What are the special qualities of The Hanover Band? 35 years ago there was a general consensus that the 'authentic' musician aspired merely to act willingly in the service of the composer, denying any form of glorifying self-expression, attaining this by following text-book rules for 'scientific method' with a strictly empirical programme to verify historical practices. These were somehow magically transformed into the composer's 'intentions'. Yet Caroline immediately recognised that the craft of music-making must be held in equal balance with the art, even though historical evidence often seems heavily biased in favour of the former.
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THE HANOVER BAND FOUNDATION
THE HANOVER BAND BACKGROUND AND ETHOS
In a pre-digital age, those precious interactions between composer and performer have been largely lost for ever. The artistic aspiration of The Hanover Band has never compromised historical accuracy on the altar of practical expediency, whilst recognising that judicious selection from the plethora of historical evidence does not constitute compromise.
Hearing earlier music as it was performed 'in favourable circumstances' requires a sensitive interpretation of Bach's shortage of players and singers for his weekly service at Leipzig; Beethoven wrote his symphonies at a time when the situation for orchestras in Vienna was very difficult - culturally, politically and musically. And how are we to react to Mozart's evident delight at a very active audience response during the première of his Paris Symphony?
In interpreting the past, The Hanover Band has demonstrated an artistic integrity that has become all too rare within the realm of historical performance.
Professor Colin Lawson CBE
Director of the Royal College of Music
3
THE HANOVER BAND FOUNDATION
TRUSTEES' REPORT
FOR THE YEAR ENDED 30 JUNE 2022
The Trustees present their report and accounts for the year ended 30 June 2022.
The Trustees have informally assessed the major risks to which the charity is exposed, and are satisfied that systems are in place to mitigate the exposure to major risks. Grant applications are considered by the Trustees and grants are given to deserving cases consistent with the charity's objectives.
Statement of Public Benefi t
The Foundation has complied with the Charities Act 2011 requiring the organisation to have due regard to the public benefit guidance published by the Charities Commission. The Foundation's charitable objectives are to educate and inform the public in the performance practices of the 17th, 18th and 19th centuries, via concerts and outreach programmes which are undertaken through the following activities:
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Expanding educational projects that link historical events and inventions with music. Such projects, under the generic title 'Nurturing the Next Generation', give opportunities to young students to engage in tutorials, courses and performances with members of The Hanover Band;
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Encouraging attendance at concerts by children and young adults through a subsidised ticket scheme, and, where practicable, encouraging young students to attend rehearsals and engage with the players on a one-to-one basis;
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Organising regular courses and workshops in music of the 17th-19th centuries for our audiences;
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Performing baroque and classical repertoire in key supported communities in London and the South East;
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The development of The Hanover Band record label, firstly by licensing Hanover Band recordings from the back catalogue and also through recordings for release on the new label;
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Developing further The Hanover Band as an organisation of artistic excellence and ambitious vision.
Charity Structure and Risk
There are currently three Trustees who govern the charity and meet quarterly. Their duties, inter alia, include the assessment of artistic and financial plans to ensure that they are consistent with the Charity's objectives; and the evaluation of risks facing the Trustees in pursuing their aims.
The day to day administration of the charity is undertaken by the Chief Executive Officer, and his team who conduct the charity's affairs, within the framework and budget set by the Trustees. The Trustees have resolved to broaden the skill base of the Board and have also appointed a separate advisory Development Board.
Their primary responsibility is the identification and delivery of medium- and long-term funding to enable the expansion of the orchestra's performance, recording and education activity.
4
THE HANOVER BAND FOUNDATION
TRUSTEES' REPORT
FOR THE YEAR ENDED 30 JUNE 2022
Induction of New Trustees
As part of the process of induction of a new Trustee, consideration is given to their skills, knowledge and experience needed for the effective governance of the charity. New Trustees are given a copy of the trust deed, latest report and accounts, appraised of the application of the charitable objectives and advised of their legal obligations as laid down by statute.
Financial Review
The financial statements have been prepared in accordance with the accounting policies set out on page 10 and comply with the governing document, statutory requirements and the Statement of Recommended Practice Accounting and Reporting by Charities (SORP), applicable to charities.
All income is treated as unrestricted funds and is recognised in the financial year in which the gift is received.
The Statement of Financial Activities is shown on page 8. Total income was £380,787 (2021: £524,804), and net deficit was £40,395 (2021: net surplus of £49,739).
The challenge is to match the receipt of voluntary income against the expenditure on concerts, education and outreach. The Trustees regularly monitor the Charity's finances and where necessary have relied on borrowings to assist cash flow.
The Trustees confirm that the Charity's assets, together with pledged income, are available and adequate to fulfil the Foundation's obligations, and acknowledge the need to establish a robust reserves policy.
The growth of the organisation is reflected in the financial data given below; the year was one of natural consolidation with more time & effort spent on securing future funding and work for musicians.
There is no doubt that the year to June 2022 has been challenging, both financially and in encouraging and rebuilding audiences to attend concerts. Our average audience in concert halls were 67% and in church’s where audiences are expected to sit closer in fixed pew around 48%. Prior to Covid those figures were 88% and 86%. However, by December 2022 we began to witness larger attendances and a more positive attitude towards socialising.
Reliant upon an emergency grant from Department of Culture Media and Sport, The Foundation was able to comfortably survive, and make plans for a series of concerts in the City of London, to celebrate the 225th anniversary of the birth of Franz Schubert. The Series started in September 2023 and thanks to Trevor Fenwick and to the many Livery Companies that have hosted the Hanover Band’s we have been able to involve over 1200 schoolchildren in our outreach programmes. Most energetically and positively led by animateur Tom Daggett, the education work has been recognised by the Corporation of London as outstanding.
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THE HANOVER BAND FOUNDATION
TRUSTEES' REPORT
FOR THE YEAR ENDED 30 JUNE 2022
Our Arundel Patrons continue to actively support our concerts, and I am delighted to confirm that we have welcomed seven new annual supporters. The Patrons together with specific concert sponsors underwrite three concerts a year in St Nicholas Church Arundel, at Easter, August Bank Holiday and a performance of Messiah each Christmas.
During the year three trustees have retired: John Godfrey, Hilary Birch and past Chairman Howell James, who on behalf of the Board and players alike, I should like to thank for their commitment, drive and enthusiasm for the Foundation’s work throughout their time as Trustees.
We also said goodbye to our General Administrator Toni Kent,who after six years steering the orchestra through not least the disaster of COVID when we had to cancel 52 concerts, also masterminded the recording and broadcasting of the complete Beethoven Symphonies during 2020, when most of us were confined to our homes.
There is much to do, not least to ensure that the younger generation experience the joys of classical music, over the next few months our efforts will be on education, working in schools, encouraging families to attend concerts and supporting schools to deliver music.
Finally, I should like to acknowledge the Amateur Choirs In Southampton, Guildford, Basingstoke, Kings College London, Crouch End, Canterbury and the Royal Choral Society who have all engaged the Hanover Band during the year – we are truly grateful for their faith and trust in us!
I should like to thank Stephen Neiman and the team, who’s positive “can do” attitude ensures that we can continue to deliver professional concerts of an international standard.
Laurie Watt
Chair of Trustees 21-May-23
6
THE HANOVER BAND FOUNDATION
STATEMENT OF FINANCIAL ACTIVITIES
| Note INCOME Voluntary donations Event and engagement income Grant income Job retention scheme grants Total Income EXPENDITURE Charitable expenditure 2 Administrative expenses 4 Bank & legal charges 5 Interest payable Total Expenditure Net movement in funds Total funds brought forward Total funds carried forward Net (deficit)/income |
General fund £ 215,178 64,288 95,904 5,417 380,787 269,347 149,385 78 2,372 421,182 (40,395) (40,395) 66,349 Unrestricted Funds 25,954 |
2022 Total £ 215,178 64,288 95,904 5,417 |
2021 Total £ 387,553 6,970 98,668 31,613 |
|---|---|---|---|
| 380,787 | 524,804 | ||
| 269,347 149,385 78 2,372 |
337,695 136,338 321 711 |
||
| 421,182 | 475,065 | ||
| (40,395) | 49,739 | ||
| (40,395) 66,349 |
49,739 16,610 |
||
| 25,954 | 66,349 |
7
THE HANOVER BAND FOUNDATION
BALANCE SHEET
| Notes Fixed assets Intangible assets Tangible assets 3 Current assets Stocks and goods for resale Debtors 6 Cash at bank Creditors and loans 7 Net current assets Total assets less current liabilities Loans greater than 1 year 8 Total assets less current liabilities Represented by: Unrestricted funds: General funds 9 Total funds |
£ 30,865 95,897 13,270 |
2022 £ 21,000 5,688 26,688 31,303 57,991 (32,037) 25,954 25,954 25,954 |
£ 30,865 68,397 70,465 |
2021 £ 21,000 2,736 |
|---|---|---|---|---|
| 140,032 (108,729) |
||||
| 107,949 (41,600) |
||||
| 66,349 | ||||
| 66,349 | ||||
| 66,349 |
The financial statements were approved by the Trustees and authorised for issue on 21 May 2023 and signed on behalf of the Trustees by
Laurie Watt Chairman
8
THE HANOVER BAND FOUNDATION
NOTES TO THE FINANCIAL STATEMENTS
FOR THE YEAR ENDED 30 JUNE 2022
1 Principal accounting policies
Basis of accounting
The financial statements have been prepared in accordance with applicable law and UK Accounting Standards, including FRS 102 The Financial Reporting Standard applicable in the UK and Republic of Ireland (United Kingdom Generally Accepted Accounting Practice). Assets and liabilities are initially recognised at historical cost or transaction value unless otherwise stated in the relevant accounting policy notes.
Income
Donations and grants are accounted for on receipt or when receivable from donors who have pledged with reasonable certainty, at the estimated value of investments donated, or the actual value of cash donated. Project grants are accounted for either upon receipt or when in the case of a specific project grant crossing two or more financial years the project grant shall be recognised at the beginning of the project planning by the charity and recognised in the Statement of Financial Activities. Other voluntary income and donations, and any gift aid relief, are accounted for on receipt by the charity, and recognised in the Statement of Financial Activities.
Expenditure
Expenses and grants payable are recognised in the accounts when they are incurred by the charity.
Depreciation
Depreciation is provided on all tangible fixed assets at rates calculated to write off the cost less estimated residual value, of each asset over its expected useful life. The useful economic lives of expedition equipment items are reviewed and adjusted annually. The brought forward values are then written off over this period. Depreciation is calculated on the following basis:
| calculated on the following basis: | |
|---|---|
| Music library | Nil |
| Equipment & fittings | 20% straight line basis |
| Computers & peripherals | 20% straight line basis |
Reserves
The charity holds reserves in order to fund future charitable activities and grants in furtherance of the charitable objectives.
2 Charitable expenditure
| Events costs Artists' fees Education projects Recording costs Stock items Fundraising costs |
Unrestricted funds £ 33,176 189,193 13,837 7,267 - 25,874 269,347 |
2022 2021 £ £ 33,176 27,968 189,193 149,926 13,837 34,274 7,267 95,643 - 3,000 25,874 26,884 |
|---|---|---|
| 269,347 337,695 |
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THE HANOVER BAND FOUNDATION
NOTES TO THE FINANCIAL STATEMENTS
FOR THE YEAR ENDED 30 JUNE 2022
3 Fixed assets
| Cost At beginning of year Additions At end of year Depreciation At beginning of year Charge for the year At end of year Net book value At 30 June 2022 At 30 June 2021 All fixed assets are held in direct furtherance of the charity's objects. 4 Administrative expenses Rent and rates Wages and salaries Bid writing costs Staff training and welfare Meetings expenses Cleaning Advertising and leaflet distribution Telephone Travel & subsistence Printing, postage & stationery Depreciation Insurance Computer & website costs Subscriptions and conference Equipment hire Sundry expenses |
Music library £ 21,000 - 21,000 - - - 21,000 21,000 |
Office equipment £ 10,313 4,607 14,920 7,577 1,655 9,232 5,688 2,736 2022 2021 £ £ 8,745 9,000 120,385 105,884 - 2,220 1,835 1,749 1,282 534 - 232 - 150 1,879 852 4,531 4,109 1,004 926 1,655 734 984 740 2,917 7,884 1,758 1,324 780 - 1,630 - |
|---|---|---|
| 149,385 136,338 |
5 Other expenditure
| Legal fees Bank charges Independent Examiners' fee |
Unrestricted funds 2022 2021 £ £ £ - - 38 78 78 283 - - - |
|---|---|
| 78 78 321 |
10
THE HANOVER BAND FOUNDATION
NOTES TO THE FINANCIAL STATEMENTS
FOR THE YEAR ENDED 30 JUNE 2022
| 6 Debtors Debtors and accrued income VAT and Gift aid relief due 7 Creditors: amounts falling due within one year Trade creditors VAT & PAYE/NIC taxes Sundry creditors and accruals Bank overdraft Loans |
2022 2021 £ £ 95,897 47,500 - 20,897 21,182 19,059 64,148 24,031 14,999 10,422 - 2,220 8,400 29,782 |
|---|---|
| 108,729 85,514 |
8 Creditors: amounts falling due after one year
| Creditors: amounts falling due after one year | |
|---|---|
| Bank Loans | 32,037 41,600 |
| 32,037 41,600 |
A £42,000 Bounce Back Loan was received in May 2020, which was increased in December 2020 by a further £8,000. Repayments commenced after the year end; the amount repayable in the next year is £8,400 (2021: £8,400).
9 Analysis of fund balances: movement in resources
| At beginning of year £ Unrestricted funds General fund 66,349 Total Unrestricted Funds 66,349 |
Incoming resources £ 380,787 380,787 |
Outgoing At end resources of year £ £ (421,182) 25,954 (421,182) 25,954 |
|---|---|---|
10 Registered charity
The charity is registered in England (No. 1138061) and as such is not liable to tax.
11
THE HANOVER BAND FOUNDATION
INDEPENDENT EXAMINER'S REPORT
Independent examiner's report to the trustees on the unaudited accounts of The Hanover Band Foundation
We report on the accounts for the year ended 30 June 2022 set out on pages 8 to 11.
Respective responsibilities of trustees and examiner
The charity's trustees are responsible for the preparation of the financial statements. The charity's trustees consider that an audit is not required for this year (under section 144 of the Charities Act 2011 (the 2011 Act)) and that an independent examination is needed. It is my responsibility to
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examine the financial statements (under section 145 of the 2011 Act),
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follow the procedures laid down in the general Directions given by the Charity Commission (under section 145(5)(b) of the 2011 Act), and
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state whether particular matters have come to my attention.
Basis of independent examiner’s statement
My examination was carried out in accordance with general Directions given by the Charity Commission. An examination includes a review of the accounting records kept by the charity and a comparison of the accounts presented with those records. It also includes consideration of any unusual items or disclosures in the accounts, and seeking explanations from the trustees concerning any such matters. The procedures undertaken do not provide all the evidence that would be required in an audit, and consequently no opinion is given as to whether the accounts present a ‘true and fair’ view and the report is limited to those matters set out in the statement below.
Independent examiner's statement
In connection with my examination, no matter has come to my attention:
(1) which gives me reasonable cause to believe that in any material respect the requirements
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to keep accounting records in accordance with section 130 of the 2011 Act; and
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to prepare financial statements which accord with the accounting records and to comply with the accounting requirements of the 2011 Act
have not been met; or
(2) to which, in my opinion, attention should be drawn in order to enable a proper understanding of the financial statements to be reached.
Alexander Spofforth BA FCA Spofforth Partners Limited Byne Cottage Manley's Hill, Storrington West Sussex RH20 4BN
10 June 2023
12