ORCHESTRAS
I FORALLI
ANNUAL REPORT
JULY 2020-JUNE 2021
## OUR VISION
Our vision is where any young person aged 11-18 can access the benefits of group music-making in the UK
Having just completed our first year as trustees, we have watched in awe as Orchestras for All (OFA) has evolved to overcome every single obstacle thrown its way. Driven by **passion** , **determination** and **innovation** , OFA has found new ways to bulldoze right though the barriers that young musicians face today and utilised the power of the Internet to connect musicians from up, down, left and right of the country. With **12 online days for National Orchestra for All** (NOFA), **five Music Leadership Training webinars** and **43 schools engaging with the Modulo Programme** in the midst of a global pandemic, OFA never ceases to amaze us – but we wouldn’t expect anything less.
While we currently stand as trustees of OFA, we also speak as **proud alumni** whose only real access to orchestral music-making was through its programmes. For both of us, this charity was – and still is – **a vital lifeline to musical activities that completely changed our lives for the better** , so this past year has been a rewarding opportunity for us to reflect and finally give back!
Our reflections on the organisation have resulted in the **formation of OFA’s Youth Board** , a diverse cast of nine members and alumni whose impacts are already being felt across everything that OFA does. From rebranding and new wellbeing initiatives, to further polishing of NOFA courses, the list goes on. This is all being pioneered and developed by the Youth Board under the banner: **“Nothing about us, without us”** . We feel truly honoured to be working with such thoughtful, talented and enthusiastic young musicians.
What’s more, everything we have achieved this past year even led to OFA being **shortlisted in the Impact category at the Royal Philharmonic Society Awards** – but for us, this is just the beginning. We look forward to seeing what the future holds in a post-pandemic world, with youth voice at the forefront of our actions. A very special thanks to **Arts Council England** , **Youth Music** , our **loyal funders** and **individual donors** , **ambassadors** , **volunteers** , and **wellbeing staff** and **orchestral tutors** for helping to make the work that we do possible.
**Beth White**
**Joelle Sogunro**
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3 pieces of
music played 2 online days
by NOFA
10 hours of
support sessions
YEAR 10,000
YouTube
views 10 new
ensembles
5 webinars:
IN NUMBERS 1 original 2 new musical
composition
arrangements
– Welcome to Modulo
43 schools – Conducting Skills 1, 2 and 3
2 virtual
– Learning by Ear
recordings 5 music hubs
100s of
welfare calls 7 wellbeing staff 24 schools 123 customers
welcomed
pre-, during and 3 orchestral partners: participated in
post-activity online activity and 67 live
8 volunteers participants
BBC Philharmonic, City
of London Sinfonia,
5 ambassadors City of Birmingham 41
professional musicians
10 online modules
Symphony Orchestra
leading young people
launched
100 members 12 online 49 volunteers
across 2 composers
days
all three
engaged for
programmes creative workshops 8.5 hours
14 masterclasses live training
instruments
22
parts
37
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## **WHAT WE DO**
## Orchestras for All has a vision: **where any young person aged 11-18 can access the benefits of group music-making in the UK**
To achieve this vision, we:
## **National Orchestra for All (NOFA)**
**A unique, mixed skill level youth orchestra comprising 100 young musicians from across the UK facing**
empower energise engage young people music educators partners to roll to access highto lead change out our approach in -quality ensemble in their local a way that supports music-making, communities their needs and inspiring audiences regional network and the wider sector
## **Modulo Programme**
**Supporting under-resourced schools and community groups to run ensembles (“Modulos”), regardless**
## **Music Leadership Training**
**An online and face-to-face training programme for music teachers and community music leaders to**
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When we filed our last impact report in July 2020, against a backdrop of Covid-19 and the first national lockdown, there could have been no way of knowing that 12 months later the coronavirus pandemic would still be gripping the planet – **altering all aspects of our delivery** and **throwing up even more barriers to music-making** for each of our young participants.
Now as we emerge from lockdown three, 18 months of social distancing, a nationwide vaccination programme and a difficult traversing of a roadmap out of government enforced safety precautions, we find ourselves publishing our 2020-2021 impact report.
Here we highlight how our team came to navigate the most challenging year in the charity’s history, while also celebrating the **relentless resilience** and **creative pragmatism** of OFA to surmount overwhelming obstacles, triumphing in our delivery of online offers that have continued to engage young people across the UK.
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## **ONLINE RESPONSE**
In 2020, we designed, developed and delivered an ongoing programme of online support for the vulnerable group of young people that we work with.
## **National Orchestra for All (NOFA)**
We doubled the number of events for National Orchestra for All across a 12-month period from three to six, meeting online throughout and delivering a total of **78.5 contact hours** and a staggering **258 sectionals and workshops** to NOFA members online, in addition to providing **179 bespoke 1:1 lessons** for NOFA members across the whole year during courses and scheduled between events.
Given the need to nurture the wellbeing of NOFA members suffering from the devastating impact of two interrupted academic years in school, periods of home online learning and general social isolation, the Orchestras for All team had to adapt quickly.
To address this need, we programmed **welfare sessions with trained wellbeing colleagues** , **“space to speak” counselling support** , **friendship breakout zones** and **fun games sessions** before, during and after NOFA courses, while the wellbeing team made **hundreds of welfare calls** to maintain links with our members and support parents and families throughout this traumatic time.
**Dispatching equipment** , **replacing broken instruments** and providing **“out of hours” musical and holistic support** for each of those members identified as being most in need has all become part of the response to maintaining our national orchestra throughout the pandemic.
## **Modulo**
Despite music-making in schools experiencing an unprecedented crisis due to government guidance around social distancing, bubbles and the termination of instrumental lessons and ensemble enrichment programmes, Modulo has reached **43 schools and five community groups** over the past year.
We provided them with **weekly resources** to continue making music, **delivered webinars** to support and nurture music teachers, **arranged online ‘Modulo Meets’** – bringing together schools from classrooms across the country – and navigated government guidance to offer **in-person masterclasses from orchestral partners** .
A total of **14 ensembles** regularly engaged with Modulo activity, using resources and attending online events. We saw **323 students** engaging with Modulo activities and of these, **192 young people had never experienced ensemble music-making before** . Statistics to be proud of at any point in OFA’s history, but especially during a global pandemic that all but shut down music as an industry in the UK in 2020-2021.
## **Music Leadership Training**
After a successful rebrand, **two modules were launched in 2021** (making a total of 10) complemented by a well-attended, diverse webinar season of **five online events** to upskill teachers in conducting, inclusive ensemble provision and learning by ear.
A total of **186 modules have been downloaded** and completed this year and **67 participants** have joined us for the live webinar offer.
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**4 Youth Board meetings**
## **9 Youth Board members**
**10 Young Leader training sessions**
**Phoebe:** _“I honestly don’t think I would have gone down the route I have done in studying performing arts at A Level and then going on to do music at university if I hadn’t experienced travelling the country in a large youth ensemble with Orchestras for All.”_
## **348 young people across the year for Modulo**
**192 students playing in an orchestra for the first time**
**102 young people in summer national meet for Modulo**
**Isaac:** _“When my dad became sick with his chronic pain, my sister got glandular fever and then chronic fatigue syndrome. With my mum working a lot of the time as well, I kind of took on a bit of a young carer role at home – but NOFA was a place just for me.”_
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_**“The fun activities “I learnt a new “I played with other “It was very hard at type of bow hold.” musicians my age, we had at the start the start but now which is always of the sessions really a wonderful I feel like I have succeeded.” made my day!” experience.” “This is “I have learned how so magical.” “It was relaxed to work with other and fun!” people to create something as a group.”**_ ~~“~~ _**“I learnt more about “Finally understood Henry Purcell – he is “I feel more confident how time signatures in playing in front one of my favourite like 3/2 work!” of others.” composers!”**_ ~~”~~ 15 Orchestras for All (1150438) Annual report – Year ended 30 June 2021 16
NOFA MEMBER TESTIMONY Across the season, NOFA members have played **Britten’s ‘The Young Person’s Guide to the Orchestra’** , **Mahala Rai Banda’s ‘Spoitoresa** ’, and remixing and reinterpreting the NOFA-developed composition, **‘Crossfade’,** written by **Jack McNeill.**
Navigating the challenges of Zoom delivery, members have enjoyed **50.5 hours of online activity** , received **102 one-to-one music lessons** and participated in **201 sectionals and workshops** at the online events! Nurtured by a superb wellbeing team, NOFA members received hundreds of welfare calls across the whole year to safeguard their needs and prioritise supporting their emotional and psychological response to the pandemic.
Coming together to play music has never been so desperately needed as it has been in the last 12 months, and the whole team has been determined to increase our outreach and offer to ensure that no young person feels isolated and alone as a result of the successive lockdowns.
We are so proud that against a backdrop of lockdowns, social distancing and the cessation of any live or face-to-face activity for almost a year, the 2020-21 **NOFA managed to meet virtually six times across the season** to come together and **play three different pieces of music for 22 instruments** and even have time to collaborate on their own unique composition, **‘The Great Interstellar Orchestra’.**
A rich and culturally diverse group, this year’s cohort showed grit and determination to make music together and support each other in spite of finding themselves in a world that has felt chaotic and traumatic for many young people.
As always with NOFA, we recruited members from across the UK, with **40 per cent of participants coming from areas of deprivation** , **25 per cent qualifying for free school meals** , and **all members experiencing significant barriers to music-making** – including physical or mental health conditions, disability, emotional, social or behavioural difficulties, learning differences or living in areas with limited music-making opportunities or rural isolation.
More than ever before, NOFA has been a lifeline for its young people. NOFA member, Emma, says: _“It’s made me more confident in everything I do. I’m not as shy and held back anymore... When I start new things outside of NOFA, I find that the confidence is still there.”_
**50.5 HOURS OF ONLINE ACTIVITY 102 ONE-TO-ONE MUSIC LESSONS 201 SECTIONALS AND WORKSHOPS**
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## **‘THE GREAT INTERSTELLAR ORCHESTRA’**
## **HIGHLIGHT OF THE YEAR**
In June 2021, Orchestras for All shared a captivating video to highlight the importance of **youth voice** and **self-expression** . By harnessing the power of technology and exploring new ways of connecting, digital creativity became possible during the pandemic.
Titled ‘ **The Great Interstellar Orchestra** ’ and premiered via YouTube, the six-minute film combines beautiful sounds and striking animations, created and performed by the young musicians of **National Orchestra for All** .
As part of the orchestra’s four-day spring course, members were invited to a series of virtual workshops on remixing and collage led by British composer, **Jack McNeill** , and digital visual artist, **Bryony Simcox** . It was the unique stories and creations that emerged from young musicians during these sessions that formed the basis of the audiovisual composition.
After seeing the digital work – which was also named by NOFA members – for the first time, **Troy, a young pianist with NOFA,** said: _“I thought it was amazing! By the end I was so interested in it, I wanted to see more. I’m really happy that I was a part of it and that I was able to contribute to all of this. It will show [others] how we’re all going on a journey… where we are, what we want to do and what we want to achieve.”_
**NOFA percussionist, Abz** , added: _“It’s got the different noises and different instruments, and it represents us all as a whole. We’re not the same but we’re all linked in some way.”_
**Jack** explained: _“The sounds you hear are all recorded by NOFA members. This piece is about giving young people a voice. It fully represents the diversity of NOFA’s creative ideas, with some instrumental melodies peppered across the piece, interspersed with percussive interludes, rich ambient textures, and almost synthetic-sounding extended techniques. If you listen carefully, you will hear the voice of every single NOFA member.”_
## **https://bit.ly/GreatInterstellarOFA**
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MODULO
In July 2019, Modulo hosted its two biggest ever Meets at the Royal Birmingham Conservatoire and the Royal Academy of Music
bringing together over 300 young musicians from as far north as Bradford and as far south as Kent. By March 2020, 20 of the Mod-
ulo network’s 35 schools had participated in masterclass rehearsals on Modulo repertoire with our artistic partners, BBC Philhar-
monic and City of London Sinfonia (CLS).
Just days before lockdown began, 87 young musicians from the West Midlands came together at MAC Birmingham for a joy-filled
My Roots, Our Routes-themed Modulo Meet, supported by musicians from the RBC LEAP Ensemble. Although subsequent face-
to-face Modulo Meets were unable to take place, the Modulo network found a brand-new way to meet in Summer 2020, with 40
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poser Dr Daniel Bickerton. Another 70 young musicians joined in with online videos led by the Modulo BBC Philharmonic and CLS tutor teams. In a year that saw school music departments facing significant barriers to orchestral music-making, the Modulo Programme rose to the challenge. As well as **removing the participation fee** , we increased and adapted our provisions and events. The 2020-21 cohort was regionally diverse and across the year, we . **welcomed 43 schools and 348 young people – with 192 students playing in an orchestra for the first time** Here’s Harri, an OFA Ambassador from Durham, to explain more about how Modulo Online worked:
Hi! I’ve played trombone with NOFA for four years and now I’m a NOFA Ambassador. **two virtual ‘Welcome to Modulo’ sessions** This year we focused on developing our online offering, holding in November – one for students and another for teachers. Here we provided activities for students, music Orchestras for All’s Modulo Programme went online this year as well. The programme provided a much-needed sense of normality. leadership training for teachers, an introduction to our resources and opportunities to connect with the Modulo members got to catch up with their friends and meet new ones. Everyone was engaged in the sessions, working through national Modulo community. the music and talking about their experiences at home during the past few months. The January 2021 lockdown presented further challenges, with Modulo ensembles unable to rehearse in Modulo members got to work together creatively as well: during June, each Modulo member had sent in a short recording, and a schools, so we launched composer - Dan Bickerton - had drawn all the parts into one short track. The piece was premiered within a composition webinar **weekly online sessions for students to participate from home** . For six memorable weeks, we **welcomed over 88 students** who enjoyed musical activities and received specialist support from during the course, with the arranger, Dan. our team of It’s been a difficult time for everyone. Despite the fact that we need to be careful, it’s now incredibly important to have some social **seven professional tutors** , while connecting with other young people from across the country.
When schools reopened in March, we were delighted to return to in-person provision with **14 workshops** over the summer term, led by musicians from our trusted partners, **BBC Philharmonic, City of London Sinfonia** and **City of Birmingham Symphony Orchestra.** During the spring and summer terms, our national Modulo Meets were held online, with **ensembles from 14 school classrooms** as well as self-isolating students joining us across two events. The group enjoyed music-making sessions, focused sectional rehearsals, full orchestra activities and even developed new compositions together, with special guests including conductor **Karin Hendrickson** , composers **Jack McNeill** and **Martin Riley** , and digital visual artist, **Bryony Simcox** .
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## **PARTICIPANT TESTIMONIES**
_“Modulo is brilliant because it doesn’t feel like being in a strict orchestra and it is organised chaos!”_
- _“This is so magical.”_
_“Thanks all of you – this is one of the best days I’ve ever had!”_
_“I really enjoyed joining in, especially in lockdown with no school or music groups happening.”_
_“I learnt two new chords on ukulele and loved it. It is the best thing I have done this year!”_
_“The masterclass was really fun and was also inspiring for me, which gave me ideas on where I want to take my music to in the future.”_
_“The masterclass was a really worthwhile experience. The session was led by professional musicians who all gave us advice about having a musical career as well as helping us improve our band’s pieces. The exercises and warmups I played on the drums were really fun too.”_
_“[The best thing is] the fact you don’t have to have an instrument to join and can be any level.”_
## **TEACHER TESTIMONY**
**Claire** , Heworth Grange School: _“It has been so hard with all the restrictions, so finally getting to do a proper rehearsal was brilliant – the pupils loved it! I can’t believe how well they did with their instruments. The wind players had all managed six new notes by the end of the day. Watching the pupils supporting each other was a joy. Although they’re all from the same year group, they’re not necessarily from the same classes but I can already see new friendships forming and they have the ‘status’ of being part of the Modulo Orchestra. This is known by their peers and they’re proud of it!_
_“All the pupils were inspired in our second rehearsal to develop their note playing, showing much more resilience than I was expecting and have witnessed in beginner instrumentalists before. I think it really helped them to see such a wide range of experience in the other schools. The Modulo Programme is brilliant and I’m already petitioning my Head for us to make it a regular part of our school – maybe even having Modulo groups in different year groups!”_
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After its initial launch in 2019, Orchestras for All’s **10-module online course** in inclusive ensemble leadership underwent a rebrand and is now known as **Music Leadership Training (MLT)** and is hosted on its own virtual learning environment within our website. The project is the first of its kind and covers areas of ensemble leadership that music teachers feel may have been lacking in formal training, or that they lack confidence or experience in, particularly in inclusive contexts.
Alongside covering **traditional conducting techniques** , through short videos filmed in real life contexts and in partnership with leading practitioners, the course invites users to reflect on **approaches to group composing** , **learning music by ear** , **leading music without notation** as well as **arranging music for inclusive ensembles** .
Since its launch, **over 100 music leaders** have taken at least one of the modules gaining crucial professional development to be applied in their classrooms or community music setting. This has been complemented by **five online webinars** linked to the content of the modules offering **an additional 8.5 hours of online training** . With a programme of **eight new webinars planned for 2021-2022** with diversity and inclusion partners, mental health experts and social enterprises providing additional context to the music-making opportunities, MLT continues to go from strength to strength.
## **PARTICIPANT TESTIMONIES**
**Tor:** _“It was all so, so useful! I came away with new techniques for conducting in 2/4, which will be invaluable. The bit where Sian focused on my piece was also immensely helpful, very personalised and inspiring._
_“This was exactly what I needed to keep my spark about ensembles during a tough time for music at schools. It has given me renewed energy for getting our groups back again as soon as possible. I am inspired to do more conducting training because of this so thank you to Sian, and thank you to Orchestras for All for putting the training on.”_
**Victoria:** _“The sessions were excellent and really useful – thank you for organising them and I will look forward to future events with your organisation.”_
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* ENJOYED BY
190 PARTICIPANTS
IN 2020-21
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* 8.5 HOURS OF
ONLINE TRAINING
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## **STRENGTHENING OUR ORGANISATION**
## **Policy and system development**
We have taken the time to have conversations with our team, trustees and the young people that we work with to strengthen our organisational values in **diversity and inclusion** , upskilling all those employed by Orchestras for All with EduCare online courses in **Safeguarding and Child Protection** , **GDPR** and **Safer Recruitment** , while evolving our database, financial systems and processes as well as making the move to Office 365 to streamline the way we work as a team.
## **Adaptability**
While many of our contemporaries faced the difficult decision to shut up shop due to the impact of the pandemic, Orchestras for All has adapted and **successfully delivered its activity online** . We will build on this success by ensuring that even after the pandemic, we continue to embrace digital platforms in order to **reach more young people across the UK** – particularly those who may be experiencing rural isolation or have access and inclusion needs.
We have taken some vital steps to strengthen the organisation during the pandemic, ensuring that we are best placed to support the most vulnerable young people as they come out of this crisis facing even more disadvantages than before.
**Recruitment**
Strengthening the team with careful and measured recruitment in the last year has seen us welcome a new **Team Coordinator** , **Head of Programmes** and the creation of the role of **Content and Communications Producer.**
We have also enhanced our team working with NOFA members by securing additional **wellbeing staff** , who will work to meet the social, emotional and mental health needs of our young people. We have also welcomed a **Wellbeing Lead** to the team, which will add capacity and expertise in supporting NOFA.
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YOUTH VOICE
RECRUITMENT
DEVELOPMENT
ADAPTABILITY
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**Youth voice**
Youth voice is fully embedded across the organisation. In NOFA, our amazing **Young Leaders** (NOFA members aged 16–18) and **Ambassadors** (NOFA alumni aged 18–20) lead aspects of NOFA events, steer focus group conversations, moderate spaces, offer peer led wellbeing support and work to encourage all NOFA members to input their opinions and ideas into new repertoire and plans for future NOFA events. All feedback is acted upon and plans adjusted based upon the contributions of our young members.
Since Autumn 2020, we have benefitted from two NOFA Ambassador alumni accepting roles as **Trustees** on our board to bring youth voice to the governance conversations at OFA. The new Trustees also chair a termly **Youth Board** , made up of **nine NOFA members** , to gather insight from young people in the UK on matters ranging from fundraising and marketing to programme delivery and new recruitment. Our Young Trustees also take an active role in recruitment for the core team and for other spaces on the board.
## **Staff team**
Our committed core team evolved in 2020-21 as Head of Programmes, **Anna Williams-Haines** , left after almost a decade of work, having held multiple roles in the organisation as it developed.
**Donna Edmonds** joined the team in April 2021 following a career in education, leading schools for 20 years.
A new role of Content and Communications Producer was created when **Helena Asprou** joined the team in January 2021, revolutionising strategy around content, social media reach and messaging, while **Helen Cordina** joined as the new Team Coordinator in March 2021.
**Marianna Hay MBE** , our founder, has stepped aside from the staff team and takes the role as Founding Director to support the staff team on a voluntary basis throughout the year.
Our artistic partners continue to develop with **City of London Sinfonia** , **City of Birmingham Symphony Orchestra** and **BBC Philharmonic** all part of our Modulo Programme, while key appointments in wellbeing and welfare – including the development of a Wellbeing Lead role – will nurture the social, emotional and mental health needs of NOFA members affected by the pandemic.
We could not deliver our work without the crucial support of our volunteers – whether as musicians, helping behind the scenes during our events, supporting with fundraising or evaluation, or general administrative support.
All our volunteers are offered appropriate training, particularly around our safeguarding policy.
We commit to **fair recruitment of volunteers** , are flexible in terms of allowing volunteers to give any period of time that suits their needs, and cover all reasonable expenses.
## **Volunteers**
We are grateful for the continued enthusiasm, guidance and support from our committed board of trustees led by our Chair, **Susanna Eastburn MBE** .
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## **STRATEGY 2021-2026**
In 2021, we launched our **five-year strategy** focusing on a renewed vision: a country where any young person aged 11-18 can access the benefits of group music-making.
As part of our mission, we offer young people with complex lives a range of inclusive ensemble music-making opportunities that redefine what an orchestra is, who it is for, and what it can do. The strategy sets out our plans to:
**1. Empower young people to access high-quality ensemble music-making, inspiring audiences and the wider sector**
**2. Energise music educators to lead change in local communities**
**3. Engage partners to roll out our approach in a way that supports their needs and regional context**
## **‘THE WAY WE SEE IT’**
To celebrate 10 years of inclusive music-making, we launched a special season of work, titled **‘The Way We See It’** .
Empowering young people through high-quality ensemble music-making is at the heart of Orchestras for All’s new strategy, and we continue to place ever-increasing focus on the **development of youth voice and youth leadership** through our programmes.
In a change to previous seasons, this season has also seen us pilot a **two-year membership for NOFA members and Modulo schools** to ensure consistency.
## **LOOKING FORWARD**
Despite the unprecedented challenges we have all faced as a direct result of COVID-19, we are determined to remain optimistic and look forward to the future. We have reflected on what we have learned over the past 18 months, growing both as a team and as a charitable organisation, and will take these lessons with us as we open **exciting new doors of musical opportunity** for our young people.
The pandemic has shone a spotlight on the need for **resilience** , **adaptability** and of course, **compassion** , during hard times, alongside the absolute necessity for human beings to experience **meaningful connections** , **creativity** and **collaboration** . We are doing everything we can to offer a rich diet of activity across all three of Orchestras for All’s programmes, and by providing
the cultural entitlement that each
of our musicians deserves, we hope to see them emerge from this experience both healthy and happy.
We will continue to focus on the unique requirements of our inspiring orchestra members and associates, and will be relentless in our optimism to provide them with **services that meet their needs** .
Promoting **positive wellbeing** and our key values of **kindness** and **inclusivity** has never been more important. We will safeguard and nurture the emotional, psychological and spiritual needs that are often developed by having access to music-making ensembles.
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## **CONTENT AND COMMUNICATIONS**
As part of Orchestras for All’s five-year strategy, we are improving content and communications both internally and across each of our digital channels, helping our organisation to share its work more widely, **build stronger connections** with our audience and act as a cataylst for **even greater change.**
Over the past year, we have also embraced a **bold new visual identity** in close collaboration with our Youth Board to reflect the aspirations of our three core programmes.
**Average of 4,140 monthly web visitors (Jan-Jun 2021) – 2,000 more per month than in 2020**
**41,144 unique page views for the website, 33,893 of which came in Jan-Jun 2021**
2020-21 snapshot
**18 pieces of media coverage**
**Reach increased across all social media channels: Instagram +50% Facebook +7% Twitter +10% YouTube +38% LinkedIn +37%**
**26 blogs published in Jan-Jun 2021, each with double the number of page views than in 2020**
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The senior management team and the trustees monitor and evaluate key risks via the Risk Register. Risks cover a range of areas, both internal and external, including governance, financial, staffing, compliance, partnerships, reputation and scope of the organisation.
We score each risk against its probability and impact to give a combined risk score and agree a course of action to mitigate each of these risks. The senior management team and trustees have identified the following key risks at the end of this reporting period:
|**Risk**|**Mitigation**|
|---|---|
|Losing key skills, perspectives and historic knowledge
through completion of Trustee terms or resignations|Strategic and well-planned trustee recruitment
process to replace key skills, perspectives and have
a handover to minimise loss of historical knowledge
through completion of Trustee terms|
|Founder decision to step aside|Founder decided to leave the management team
during 2020-21 but has been mitigated by the
Founder continuing with the charity in a voluntary
capacity as Founding Director to ensure that organi-
sational learnings are carried forward into the future|
|Staf overstretch|Senior management team and trustees regularly
review staf capacity and deploy freelance and
volunteer support where required|
|Ensuring online safety for all users|Robust mechanisms in place to ensure safety of users
online including an online safeguarding policy and
full team ofered accredited safeguarding training|
|Programmes: no large-scale gatherings and enforced
social distancing for years to come, puts a risk on our
strategy and future planning|Government guidelines regularly reviewed to enable
face-to-face activity to resume as soon as possible.
OFA continues a blended ofer of virtual and in
person events into the future|
|Over-reliance on short-term income streams and
need for longer-term fnancial sustainability|Fundraising subcommittee to review options to
strengthen longer term income streams to achieve
greater fnancial stability|
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## **LEGAL AND ADMINISTRATIVE INFORMATION**
**Senior management**
Nick Thorne Executive Director Anna Williams-Haines Head of Programmes (until April 2021) Donna Edmonds Head of Programmes (from April 2021) Susanna Eastburn MBE, Chair Jessica Boyd Kate Danielson Simon Page Alice Poole Emily Sayers Philip Whalley Jonathan Kanagasooriam (resigned 20 May 2021) Beth White and Joelle Sogunro (appointed 1 October 2020)
**Board of trustees**
**Board policy:** In accordance with the Orchestras for All Board Policy (September 2020), there must be at least three and at most 10 Trustees to operate.
## Activities of the Board include:
Strategic thinking: agree the purpose, vision and values of the organisation and its corporate culture and, with senior management, develop the one- to three-year plans and priorities for the organisation. Supporting fundraising initiatives: help with fundraising and bringing donors/supporters to events. Policy formulation: with senior management, develop appropriate policies for the achievement of the organisation’s aims. Assist senior management in monitoring the external environment.
Monitoring organisational performance and fulfilment of mission: review key business results. Accountability: ensure the organisation is fully compliant with the law and regulations and that it reports accurately to its stakeholders and regulators.
new strategic directions/partnerships. Sign off on new hires and changes to staff salaries. Decision-making: examine and consider key decisions proposed by senior management, particularly around
Specific duties include contributing to all aspects of Board governance, actively engaging with key stakeholders in fields relevant to their business, providing specific sector expertise where appropriate and participating in Board decision-making. Prospective Trustees will be interviewed (by a panel of at least one trustee and one member of senior management) to explore their experience, with decision to appoint made by the Board by simple majority (appointment of a new Chair must receive a two thirds majority).
Trustees will receive a full induction by senior management, undergo Child Protection Training and seek a DBS check. Trustees agree to serve for a minimum of two years with scope for subsequent renewals. Trustees are unpaid but can make claims for travel and subsistence incurred on NOFA business. According to the Constitution, as a Charitable Incorporated Organisation, Trustees have no personal liability.
: the Board of Trustees have complied with their duty in section 17 of the Charities Act **Public benefit statement** 2011 to have due regard to guidance published by the Charity Commission on the public benefit of the Charity. **Governing document** : Constitution **Legal Status** : Charitable Incorporated Organisation (CIO)
**Companies house reference number** : CE000005
: Cecil Sharp House, 2 Regent’s Park Road, London NW1 7AY **Registered office**
**Independent examiner** : Haines Watts Chartered Accountants, 4 Claridge Court, Lower Kings Road, Berkhamsted, Hertfordshire HP4 2AF
**Accountant** : Andy Nash Accounting and Consultancy, Units 24 & 25, Goodsheds Container Village, Hood Road, Barry, CF62 5QU
**Bank** : Lloyds Bank PLC, 15 Blackheath Village, London SE3 9LH
37
Orchestras for All (1150438) Annual report – Year ended 30 June 2021
38
Total Expenditure £287,178
## **FINANCES AND RESERVES**
During the current financial year, the Charity achieved a surplus of £10,199 (2019-2020: surplus of £6,346), increasing total reserves at year end to £199,640 (2019-2020: £189,441). Of these reserves £187,060 (20192020: £187,600) were unrestricted as to use. A total of £52,329 (2019-2020: £60,000) of the total reserves was designated for National Orchestra for All, leaving £134,731 (2019-2020: £127,600) as general funds.
**National Orchestra for All** is Orchestras for All’s flagship programme and the trustees are committed to its continued success. To ensure that the programme can be delivered as planned, in previous years the trustees have designated £60,000 of unrestricted reserves to cover the shortfall. In the current period £7,671 of the reserves have been utilised. The Board will continue to monitor fundraising progress for programme delivery while maintaining reserve levels in line with our policy.
The Charity has a policy to maintain reserves required for an orderly shut down in the event of a sudden loss of funding taking into account contractual notice periods and operating costs during the period assumed for shut down. The Charity has an objective to continue building reserves to take account of other potential events including an amount to cover deficits related to events that could be incurred as a result of the Charity’s closure and an amount to cover other unforeseen costs. The current general reserves stand at £134,731, the equivalent of approximately five months of operating expenses.
**Going concern** : The majority of Orchestras for All’s funding comes from trusts and foundations, public funding and individuals. The Charity does not run a venue, and is not heavily dependent on earned income from participating young people, schools or participants. Therefore, the financial impact of the pandemic is limited and Trustees foresee no material uncertainties about the Charity’s ability to continue as a going concern for the 12 months from the signing of these accounts.
**----- Start of picture text -----**
2020-2021
**----- End of picture text -----**
**----- Start of picture text -----**
Raising funds
10%
Modulo Programme
29%
National Orchestra
for All
41%
Music Leadership
Training
20%
**----- End of picture text -----**
**----- Start of picture text -----**
Income Breakdown: £297,377 Donations and
orchestra tax
2020-2021
relief
12%
Fundraising
events
0%
Participant fees
2%
Grant income
86%
**----- End of picture text -----**
Orchestras for All (1150438) Annual report – Year ended 30 June 2021
40
39
## **STATEMENT OF TRUSTEES’ RESPONSIBILITIES**
The Trustees are responsible for preparing the Trustees’ Annual Report and the financial statements in accordance with applicable law and regulations.
Charity law requires the Trustees to prepare financial statements for each financial year. Under that law they are required to prepare the financial statements in accordance with UK Accounting Standards and applicable law (UK Generally Accepted Accounting Practice), including FRS 102 The Financial Reporting Standard applicable in the UK and Republic of Ireland.
Under charity law, the Trustees must not approve the financial statements unless they are satisfied that they give a true and fair view of the state of affairs of the Charity and of the excess of income over expenditure for that period. In preparing these financial statements, the Trustees are required to:
select suitable accounting policies and then apply them consistently. make judgements and estimates that are reasonable and prudent. disclosed and explained in the financial statements. state whether applicable UK Accounting Standards have been followed, subject to any material departures prepare the financial statements on the going concern basis unless it is inappropriate to presume that the Charity will continue its activities.
the Charity’s transactions and disclose with reasonable accuracy at any time the financial position of the Charity and enable them to ensure that the financial statements comply with the Charities Act 2011. They have general responsibility for taking such steps as are reasonably open to them to safeguard the assets of the Charity and to prevent and detect fraud and other irregularities.
The Trustees are responsible for the maintenance and integrity of the corporate and financial information included on the Charity’s website.
Legislation in the UK governing the preparation and dissemination of financial statements may differ from legislation in other jurisdictions. In addition the Trustees confirm that they are happy that the content of the annual review in pages 3 to 42 of this document meet the requirements of the Trustees’ Annual Report under charity law.
They also confirm that the financial statements have been prepared in accordance with the accounting policies set out in the notes to the accounts and comply with the Charity’s governing document, the Charities Act 2011 and Accounting and Reporting by Charities: Statement of Recommended Practice applicable to charities preparing their accounts in accordance with FRS 102 second edition (effective 1 January 2019), The Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102).
This report was approved and authorised for issue by the Board of Trustees on Thursday 2 December 2021 and signed on its behalf by:
**Susanna Eastburn Chair of Trustees**
**Date: 2/12/21**
The Trustees are responsible for keeping adequate accounting records that are sufficient to show and explain
Orchestras for All (1150438) Annual report – Year ended 30 June 2021
42
41
## **INDEPENDENT EXAMINER’S REPORT**
## **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 CIO 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**
I report to the Trustees on my examination of the accounts of Orchestras for All (charity number 1150438) for the year ended 30 June 2021 set out on pages 45 to 62.
## **Respective responsibilities of Trustees and Examiner**
The CIO’s Trustees are responsible for the preparation of the accounts in accordance with the requirements of the Charities Act 2011 (the Charities Act). The CIO’s Trustees consider that an audit is not required for this year under section 144 of the Charities Act and that an independent examination is needed.
## It is my responsibility to:
examine the accounts under section 145 of the Charities Act;
follow the procedures laid down in the general Directions given by the Charity Commission under section 145(5)(b) of the Charities Act, and
state whether particular matters have come to my attention.
This report, including my statement, has been prepared for and only for the CIO’s Trustees as a body. My work has been undertaken so that I might state to the CIO’s Trustees those matters I am required to state to them in an independent examiner’s report and for no other purpose. To the fullest extent permitted by law, I do not accept or assume responsibility to anyone other than the CIO and the CIO’s Trustees as a body for my examination work, for this report, or for the statements I have made.
Since the Company’s gross income exceeded £250,000 your examiner must be a member of a body listed in section 145 of the 2011 Act. I confirm that I am qualified to undertake the examination because I a member of the Institute of Chartered Accountants in England & Wales, which is one of the listed bodies. I have completed my examination. I confirm that no material matters have come to my attention in connection with the examination giving me cause to believe that in any material respect:
1. accounting records were not kept in respect of the CIO as required by section 130 of the Act; or
2. the accounts do not accord with those records; or
3. the accounts do not comply with the applicable requirements concerning the form and content of accounts set out in the Charities (Accounts and Reports) Regulations 2008 other than any requirement that the accounts give a ‘true and fair view’ which is not a matter considered as part of an independent examination.
I have no concerns and have come across no other matters in connection with the examination to which attention should be drawn in this report in order to enable a proper understanding of the accounts to be reached.
## **Shaun Brownsmith FCA**
For and on behalf of Haines Watts Chartered Accountants, 4 Claridge Court Lower Kings Road, Berkhamsted HP4 2AF **Date: 3 December 2021**
Orchestras for All (1150438) Annual report – Year ended 30 June 2021
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44
## **STATEMENT OF FINANCIAL ACTIVITIES**
|||Unrestricted|Restricted||Total|Total|
|---|---|---|---|---|---|---|
|||Funds|Funds||Funds|Funds|
|||2021|2021||2021|2020|
||Notes|£|£||£|£|
|**come from:**|||||||
|Donations and legacies|3|34,728|255,922||290,650|311,721|
|Charitable activities|4|6,727|-||6,727|11,495|
|**tal income**||41,455|255,922||297,377|323,216|
|**penditure on:**|||||||
|Raising funds|5 & 6|22,308|7,308||29,616|24,906|
|Charitable activities|||||||
|National Orchestra for All|5 & 7|7,671|109,903||117,574|164,120|
|Modulo Programme|5 & 8|9,963|72,354||82,317|78,520|
|Music Leadership Training|5 & 9|2,053|55,618||57,671|49,324|
|Charitable activities||19,687|237,875||257,562|291,964|
|**tal expenditure**||41,995|245,183||287,178|316,870|
|**et income/(expenditure)**
**econciliation of funds**||(540)|10,739||10,199|6,346|
|Balance brought forward|14 & 15|187,600|1,841||189,441|183,095|
|Balance carried forward|14 & 15
187,060
The notes on pages 47 to 62 form part of the fnancial||12,580
statements.||199,640|189,441|
## **Income from:**
**Total income**
## **Expenditure on:**
**Total expenditure**
**Net income/(expenditure)**
## **Reconciliation of funds**
|**BALANCE SHEET**
Notes
**Fixed assets**
Tangible assets
11
**Current assets**
Debtors and prepayments
12
44,172
Cash at bank and in hand
267,821
311,993
**Creditors:**
amounts falling due withing one year
13
(112,353)
**Net current assets**
**Net assets**
**Funds of the charity**
Restricted funds
14 & 15
Unrestricted funds
General funds
14 & 15
134,731
Designated funds
14 & 15
52,329|**BALANCE SHEET**
Notes
**Fixed assets**
Tangible assets
11
**Current assets**
Debtors and prepayments
12
44,172
Cash at bank and in hand
267,821
311,993
**Creditors:**
amounts falling due withing one year
13
(112,353)
**Net current assets**
**Net assets**
**Funds of the charity**
Restricted funds
14 & 15
Unrestricted funds
General funds
14 & 15
134,731
Designated funds
14 & 15
52,329|**Total**
**Funds**
**2021**
**£**
**-**
**199,640**|
37,951
266,701|Total
Funds
2020
£
-
189,441|
|---|---|---|---|---|
||311,993
(112,353)||304,652
(115,211)||
||134,731
52,329||
127,600
60,000||
|||**199,640**||189,441|
|||**12,580**
**187,060**||1,841
187,600|
||||
||
|||**199,640**||189,441|
The notes on pages 47 to 62 form part of the financial statements.
The financial statements were approved and authorised for issue by the Board of Trustees on Thursday 2 December 2021 and signed on their behalf by:
**Susanna Eastburn Chair of Trustees**
45
Orchestras for All (1150438) Annual report – Year ended 30 June 2021
46
## **1. Accounting policies (continued from previous page)**
## Fund accounting
General funds are unrestricted funds which are available for use at the discretion of the Trustees in furtherance of the general objectives of the Charity and which have not been designated for other purposes.
Restricted funds are funds that are to be used in accordance with specific restrictions imposed by donors or that have been raised by the Charity for particular purposes. The cost of raising and administering such funds are charged against the specific fund. The aim and use of each restricted fund is set out in note 14 of the financial statements.
## Income
Income is recognised when the Charity has entitlement to the funds, any performance indicators attached to the item(s) of income have been met, it is probable that the income will be received, and the amount can be measured reliably.
## **1. Accounting policies**
## Basis of preparation of the financial statements
The financial statements have been prepared in accordance with ‘Charities SORP (FRS 102) - 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) second edition (effective 1 January 2019)’, the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102) and the Charities Act 2011.
The effect of any event relating to the period ended 30 June 2021, which occurred before the date of approval of the financial statements by the Board of Trustees has been included in the financial statements to the extent required to show a true and fair view of the state of affairs at 30 June 2021 and the results for the year ended on that date.
The financial statements are prepared in sterling, which is the functional currency of the Charity. Monetary amounts in these financial statements are rounded to the nearest £.
Under the exemption available to smaller charities the Board of Trustees has chosen not to include a Statement of Cash Flows within the financial statements.
## Going concernThe financial statements have been prepared on the going concern basis as the Board of Trustees is confident that future reserves
Going concernThe financial statements have been prepared on the going concern basis as the Board of Trustees is confident that future reserves and future income is more than sufficient to meet current commitments. There are no material uncertainties that impact this assessment and COVID-19 has had no material impact on this assessment.
## Legal statusOrchestras for All is a charitable incorporated organisation registered in England and Wales, and meets the definition of a public
Legal statusOrchestras for All is a charitable incorporated organisation registered in England and Wales, and meets the definition of a public benefit entity. The registered address is Cecil Sharp House, 2 Regent’s Park Road, London NW1 7AY.
Donations are recognised in full in the Statement of Financial Activities when entitled, receipt is probable and when the amount can be quantified with reasonable accuracy. Gift aid receivable is included when claimable.
Grant income is credited to the Statement of Financial Activities when received or receivable whichever is earlier, unless the grant relates to a future period, in which case it is deferred.
Income from charitable activities is credited to the Statement of Financial Activities when received or receivable whichever is earlier, unless it relates to a specific future period or event, in which case it is deferred.
## Expenditure and irrecoverable VAT
All expenditure is accounted for on an accruals basis and has been included under expense categories that aggregate all costs for allocation to activities.
Indirect other costs, including governance costs, which cannot be directly attributed to activities, are allocated proportionate to total direct costs allocated to each project area, as outlined in note four of the financial statements.
Irrecoverable VAT is charged against the category of expenditure for which it was incurred.
## Tangible fixed assets and depreciation
All assets costing more than £500 are capitalised. Tangible fixed assets are stated at cost less depreciation. Depreciation is provided at rates calculated to write off the cost of fixed assets, less their residual value, over their useful life, on a straight-line basis. The useful life used for capitalised computer equipment is three years.
Orchestras for All (1150438) Annual report – Year ended 30 June 2021
48
47
## **1. Accounting policies (continued from previous page)**
## **2. Comparative statement of financial activities**
## Cash at bank and in hand
Cash at bank and in hand includes cash in hand, deposits with banks and funds that are readily convertible into cash at, or close to, their carrying values, but are not held for investment purposes.
## Debtors and prepayments
Trade and other debtors are recognised at the settlement amount after any trade discount is applied. Prepayments are valued at the amount prepaid net of any trade discounts due.
## Creditors and accruals
Creditors are recognised where the Charity has a present obligation resulting from a past event that will probably result in the transfer of funds to a third party, and the amount due to settle the obligation can be measured or estimated reliably.
## Pensions
The Charity operates a defined contribution pension scheme which is administered by an external independent pension provider. Contributions are recognised in the Statement of Financial Activities as they fall due.
## Financial instruments
Basic financial instruments are measured at amortised cost other than investments which are measured at fair value.
## Critical estimates and judgementsIn preparing financial statements it is necessary to make certain judgements, estimates and assumptions that affect the amounts
Critical estimates and judgementsIn preparing financial statements it is necessary to make certain judgements, estimates and assumptions that affect the amounts recognised in the financial statements. The annual depreciation charge for tangible fixed assets is sensitive to changes in useful economic lives and residual values of assets. In the view of the Trustees in applying the accounting policies adopted, no judgements were required that have a significant effect on the amounts recognised in the financial statements nor do any estimates or assumptions made carry a significant risk of material adjustment in the next financial year.
## Operating leases
Rentals payable under operating leases are charged against income on a straight-line basis over the lease term.
|Notes
Income from:
Donations & legacies
3
Charitable activities
4
Total income
Expenditure on:
Raising funds
5 & 6
Charitable activities
National Orchestra for All
5 & 6
Modulo Programme
5 & 7
Music Leadership Training
5 & 8
Charitable activities
Total expenditure
Net income/(expenditure)
Reconciliation of funds
Balance brought forward
14 & 15
Balance carried forward
14 & 15|Unrestricted
Restricted
Total
Funds
Funds
Funds
2020
2020
2020
£
£
£
119,496
192,225
311,721
11,495
-
11,495|
|---|---|
||130,991
192,225
323,216|
||20,098
4,808
24,906
44,136
119,984
164,120
18,736
59,784
78,520
26,642
22,682
49,324|
||89,514
202,450
291,964|
||109,612
207,258
316,870|
|||
||21,379
(15,033)
6,346
166,221
16,874
183,095|
||187,600
1,841
189,441|
Orchestras for All (1150438) Annual report – Year ended 30 June 2021
50
49
## **3. Income from donations and legacies**
|Grant income
Donations
Fundraising events
Grant income
Donations
Fundraising events
Orchestra Tax Relief
Service user contributions
Service user contributions
**Income from charitable activities**|**Unrestricted**
**Restricted**
**Total**
**Funds**
**Funds**
**Funds**
**2021**
**2021**
**2021**
**£**
**£**
**£**
-
255,922
**255,922**
34,226
-
**34,226**
502
-
**502**|
|---|---|
||**34,728**
**255,922**
**290,650**|
||Unrestricted
Restricted
Total
Funds
Funds
Funds
2020
2020
2020
£
£
£
55,510
187,350
242,860
24,367
2,356
26,723
17,454
2,519
19,973
22,165
-
22,165|
||119,496
192,225
311,721|
||**Unrestricted**
**Restricted**
**Total**
**Funds**
**Funds**
**Funds**
**2021**
**2021**
**2021**
**£**
**£**
**£**
6,727
-
**6,727**|
||**6,727**
**-**
**6,727**|
||Unrestricted
Restricted
Total
Funds
Funds
Funds
2020
2020
2020
£
£
£
11,495
-
11,495|
||11,495
-
11,495|
## **4. Income from charitable activities**
## **5. Total expenditure**
|Expenditure on
Raising funds
Charitable expenditure
National Orchestra for All
Modulo Programme
Music Leadership Training
**Expenditure on**
Raising funds
Charitable expenditure
National Orchestra for All
Modulo Programme
Music Leadership Training|**Direct**
**Direct**
**Indirect**
**Indirect**
**staf**
**other**
**staf**
**other**
**Total**
**costs**
**costs**
**costs**
**costs**
**Funds**
**2021**
**2021**
**2021**
**2021**
**2021**
**£**
**£**
**£**
**£**
**£**
19,782
1,859
3,726
4,249
**29,616**
41,121
44,793
14,792
16,868
**117,574**
40,099
20,052
10,356
11,810
**82,317**
36,621
5,521
7,256
8,273
**57,671**|
|---|---|
||**137,623**
**72,225**
**36,130**
**41,200**
**287,178**|
||Direct
Direct
Indirect
Indirect
staf
other
staf
other
Total
costs
costs
costs
costs
Funds
2020
2020
2020
2020
2020
£
£
£
£
£
14,537
5,028
2,835
2,506
24,906
38,014
90,909
18,682
16,515
164,120
38,469
23,212
8,938
7,901
78,520
30,323
8,424
5,615
4,962
49,324|
||121,343
127,573
36,070
31,884
316,870|
Indirect costs, including governance costs, which cannot be directly attributed to activities, are allocated proportionate to total direct costs allocated to each project area.
An analysis of staff costs can be found in note 10.
51
Orchestras for All (1150438) Annual report – Year ended 30 June 2021
52
## **5. Total expenditure (continued from previous page)**
## Indirect costs include:
Office and administration Marketing and publicity Finance Governance
## Governance costs include:
Independent examination Production of annual accounts Trustees expenses Trustee recruitment
## **6. Expenditure on raising funds**
|**Total**|Total||
|---|---|---|
|**Funds**|Funds||
|**2021**|2020||
|**£**|£||
|**25,238**
**7,089**
**6,353**|15,624
8,423
5,930|Direct staf costs
Direct other costs|
|**2,520**|1,907|Indirect costs|
|**41,200**|31,884||
|**Total**|Total||
|---|---|---|
|**Funds**|Funds||
|**2021**|2020||
|**£**
**945**
**900**|£
900
900|Direct staf costs
Direct other costs|
|**-**|107|Indirect costs|
|**675**|-||
|**2,520**|1,907||
|**Unrestricted**|**Restricted**||**Total**|
|---|---|---|---|
|**Funds**|**Funds**||**Funds**|
|**2021**|**2021**||**2021**|
|**£**|**£**||**£**|
|19,782|-||**19,782**|
|1,859|-||**1,859**|
|667|7,308||**7,975**|
|**22,308**|**7,308**||**29,616**|
|Unrestricted|Restricted||Total|
|Funds|Funds||Funds|
|2020|2020||2020|
|£|£||£|
|11,663|2,874||14,537|
|5,028|-||5,028|
|3,407|1,934||5,341|
|20,098|4,808||24,906|
Orchestras for All (1150438) Annual report – Year ended 30 June 2021
53
54
## **7. Expenditure on National Orchestra for All**
Direct staff costs Direct other costs Indirect costs
Direct staff costs Direct other costs Indirect costs
||**Unrestricted**|**Restricted**||**Total**|
|---|---|---|---|---|
||**Funds**|**Funds**||**Funds**|
||**2021**|**2021**||**2021**|
||**£**|**£**||**£**|
||-|41,121||**41,121**|
||5,023|39,770||**44,793**|
||2,648|29,012||**31,660**|
||**7,671**|**109,903**||**117,574**|
||Unrestricted|Restricted||Total|
||Funds|Funds||Funds|
||2020|2020||2020|
||£|£||£|
||8,027|29,987||38,014|
||13,729|77,180||90,909|
||22,380|12,817||35,197|
||44,136|119,984||164,120|
## **8. Expenditure on Modulo Programme**
|Direct staf costs
Direct other costs
Indirect costs
Direct staf costs
Direct other costs
Indirect costs|**Unrestricted**
**Restricted**
**Total**
**Funds**
**Funds**
**Funds**
**2021**
**2021**
**2021**
**£**
**£**
**£**
-
40,099
**40,099**
8,109
11,943
**20,052**
1,854
20,312
**22,166**|
|---|---|
||**9,963**
**72,354**
**82,317**|
||Unrestricted
Restricted
Total
Funds
Funds
Funds
2020
2020
2020
£
£
£
8,026
30,443
38,469
3
23,209
23,212
10,707
6,132
16,839|
||18,736
59,784
78,520|
Orchestras for All (1150438) Annual report – Year ended 30 June 2021
56
55
## **9. Expenditure on Music Leadership Training**
Direct staff costs Direct other costs Indirect costs
|**Unrestricted**|**Restricted**|**Total**|
|---|---|---|
|**Funds**|**Funds**|**Funds**|
|**2021**|**2021**|**2021**|
|**£**|**£**|**£**|
|-|36,621|**36,621**|
|754|4,767|**5,521**|
|1,299|14,230|**15,529**|
|**2,053**|**55,618**|**57,671**|
## **10. Staff costs**
|**. Staf costs**||
|---|---|
|Gross salaries
Employer’s NIC
Employer’s pension|**Total**
Total
**Funds**
Funds
**2021**
2020
**£**
£
**160,053**
144,882
**9,946**
9,363
**3,754**
3,168|
||**173,753**
157,413|
The average headcount during the period was seven persons (2020: six persons). No employee received employee benefits of more than £60,000 (2020: NIL). The total employee benefits paid to key management personnel during the year was £63,261 (2020: £59,222). **11. Tangible fixed assets**
## **Computer**
Direct staff costs Direct other costs Indirect costs
|Unrestricted|Restricted|Total|
|---|---|---|
|Funds|Funds|Funds|
|2020|2020|2020|
|£|£|£|
|18,579|11,744|30,323|
|1,337|7,087|8,424|
|6,726|3,851|10,577|
|26,642|22,682|49,324|
|**Cost**
As at 1 July 2020
As at 30 June 2021
**Accumulated depreciation**
As at 1 July 2020
As at 30 June 2021
**Net book value**
As at 1 July 2020
As at 30 June 2021|**equipment**
**Total**
**£**
**£**
2,847
**2,847**|
|---|---|
||2,847
**2,847**|
||2,847
**2,847**|
||2,847
**2,847**|
||**-**
**-**|
||**-**
**-**|
Orchestras for All (1150438) Annual report – Year ended 30 June 2021
58
57
## **12. Debtors and prepayments**
Accounts receivable Prepayments Accrued income
## **13. Creditors: amounts falling due within one year**
Accounts payable HMRC control account Pensions control account Accruals Deferred grant income Credit card
## Deferred revenue consists of:
As at 1 July 2020 Released in year Deferred in year As at 30 June 2021
||||**14. Analysis of charity funds**|**Balance**|**Income**||**Expenditure**|**Transfers**||**Balance**|
|---|---|---|---|---|---|---|---|---|---|---|
|**Total**||Total||**brought**|**in the**||**in the**|**between**||**carried**|
|**Funds**||Funds||**forward**|**year**||**year**|**funds**||**forward**|
|**2021**||2020||**2021**|**2021**||**2021**|**2021**||**2021**|
|**£**||£||**£**|**£**||**£**|**£**||**£**|
|**1,150**||3,250|**Unrestricted funds**||||||||
|**9,022**||27,266|General funds|127,600|41,455||(34,324)|-||**134,731**|
|**34,000**||7,435|Designated funds||||||||
|**44,172**||37,951|National Orchestra for All|60,000|-||(7,671)|-||**52,329**|
|||||**187,600**|**41,455**||**(41,995)**|**-**||**187,060**|
||||**Restricted funds**||||||||
|**Total**||Total|National Orchestra for All|-|50,000||(47,000)|-||**3,000**|
|**Funds**||Funds|Modulo Programme|1,171|54,938||(56,109)|-||**-**|
|**2021**||2020|Music Leadership Training|-|51,020||(51,020)|-||**-**|
|**£**||£|Permanent salaries|-|17,500||(17,500)|-||**-**|
|**3,095**||1,941|COVID - 19|670|53,333||(54,003)|-||**-**|
|**3,224**||2,473|Communications|-|29,131||(19,551)|-||**9,580**|
|**873**||684||**1,841**|**255,922**||**(245,183)**|**-**||**12,580**|
|**6,516**||2,700|||||||||
|**97,906**||107,413||**189,441**|**297,377**||**(287,178)**|**-**||**199,640**|
|**739**||-|||||||||
|**112,353-**
**Total**
**Funds**||115,211
Total
Funds|**Designated funds**
National Orchestra for All: This is Orchestras for All’s fagship programme and the trustees are committed to its continued success.
To ensure that the programme can be delivered as planned, in previous years the trustees have designated £60,000 of unrestricted
reserves to cover the shortfall. In the current period £7,671 of the reserves have been utilised. The Board will continue to monitor
fundraising progress for programme delivery while maintaining reserve levels in line with our policy.||||||||
|**2021**||2020|||||||||
|**£**||£|**Restricted funds**||||||||
|**107,413**
**(107,413)**||140,667
(140,667)|National Orchestra for All: These are funds received to support the National Orchestra
variety of funders, including an anonymous European foundation.||||for All programme and were received from a||||
|**97,906**||107,413|||||||||
|**97,906**||107,413|||||||||
59
Orchestras for All (1150438) Annual report – Year ended 30 June 2021
60
Modulo Programme: These are funds received to support the Modulo Programme and were received from a variety of funders, including Arts Council England.
Music Leadership Training: These are funds received to support the Music Leadership Training Programme and were received from the Paul Hamlyn Foundation. Permanent salaries: These are funds received to support the work of the Artistic Director and Head of Programmes, as well as fundraising support.
Communications: These are funds received to support the work of the Content and Communications Producer, as well as wider work.
|nrestricted funds
General funds
Designated funds
National Orchestra for All
stricted funds
National Orchestra for All
Modulo Programme
Music Leadership Training
Permanent salaries
COVID-19|Balance
Income
Expenditure
Transfers
Balance
brought
in the
in the
between
carried
forward
year
year
funds
forward
2020
2020
2020
2020
2020
£
£
£
£
£
116,221
130,991
(96,190)
(23,422)
127,600
50,000
-
(13,422)
23,422
60,000|
|---|---|
||166,221
130,991
(109,612)
-
187,600|
||5,139
118,123
(123,262)
-
-
4,648
27,435
(30,912)
-
1,171
7,087
-
(7,087)
-
-
-
35,000
(35,000)
-
-
-
11,667
(10,997)
-
670|
||16,874
192,225
(207,258)
-
1,841|
|||
||183,095
323,216
(316,870)
-
189,441|
## Unrestricted funds
## Restricted funds
## **15. Analysis of net assets**
|**Analysis of net assets**|||||||
|---|---|---|---|---|---|---|
||**General**||**Designated**|**Restricted**||**Total**|
||**Funds**||**Funds**|**Funds**||**Funds**|
||**2021**||**2021**|**2021**||**2021**|
||**£**||**£**|**£**||**£**|
|Current assets|184,205||52,329|75,048||**311,582**|
|Current liabilities|(49,474)||-|(62,468)||**(111,942)**|
||**134,731**||**52,329**|**12,580**||**199,640**|
||General||Designated|Restricted||Total|
||Funds||Funds|Funds||Funds|
||2020||2020|2020||2020|
||£||£|£||£|
|Current assets|189,536||60,000|55,116||304,652|
|Current liabilities|(61,936)||-|(53,275)||(115,211)|
|127,600
60,000
1,841
189,441
**Other fnancial commitments**
30 June 2021, the Charity had annual future minimum lease payments under a non-cancellable operating lease for the ofce
mises as set out below:|||||||
|||||**Total**||Total|
|||||**Funds**||Funds|
|||||**2021**||2020|
|||||**£**||£|
|Due within one year||||**2,500**||2,500|
|||||**2,500**||2,500|
**16. Other financial commitments** At 30 June 2021, the Charity had annual future minimum lease payments under a non-cancellable operating lease for the office premises as set out below:
**17. Other financial commitments**
During the year, no Trustee received any remuneration (2020: £NIL). No members of the Board of Trustees received reimbursement of travel expenses (2020: One member received expenses totalling £81).
## **18. Related party transactions**
During the year, the total amount given as unrestricted donations by the trustees was £1,693 (2020: £2,404).
## **19. Guarantees and secured charges**
As of 30 June 2021, the Charity did not have any outstanding guarantees to third parties nor any debts secured against assets of the Charity (2020: £NIL).
Orchestras for All (1150438) Annual report – Year ended 30 June 2021
62
61
## **CONTACT US**
Orchestras for All Cecil Sharp House 2 Regent’s Park Road London NW1 7AY
info@orchestrasforall.org
0207 267 4141
Twitter: @Orchestras4All Facebook: @orchestrasforall Instagram: orchestrasforall LinkedIn: national-orchestra-for-all
Orchestras for All is registered with the Charity Commission in England and Wales (1150438)