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2022-06-30-accounts

music&drama education awards 2022 WINNER ORCHESTRAS I FORALLI ANNUAL REPORT JULY 2021-JUNE 2022

OUR VISION

Any young person aged 11-18 can access the benefits of group music-making in the UK

It’s been yet another eventful year here at Orchestras for All (OFA), full of exciting activities, productive meetings and incredible achievements as well as a time for reflection. After coming out of lockdown, we were finally able to return to in-person events, reuniting the young people we work with and inspiring even more music leaders . Seeing how energised our young musicians were while making music together again after a long two years of the pandemic was a perfect reminder of why this charity exists and is so needed.

Thanks to OFA’s loyal individual donors, we also raised £17,000 for our programmes last winter though our digital campaign, Music Changes Lives , which included a powerful video featuring our young people and their heartwarming stories. Huge thanks to our hardworking core team for making this happen – they always go above and beyond to give the young people we work with the very best musical experiences each and every year.

Their efforts have not been without recognition; earlier this year, OFA won an award for ‘Outstanding Musical Initiative’ in the UK-wide Music and Drama Education Awards 2022 , helping to spread our key messages even further as the charity continues to pioneer both accessibility and inclusivity across the music and education sectors.

Despite having so much to feel proud of, OFA remains humble and self-critical. This is what drives the team forward and allows them to achieve so much. Whether it’s during away days or online meetings, discussions constantly revolve around ‘what is best for young people’ and ‘what we can do better for them’ . That’s why over the past year, the charity has introduced dedicated safe spaces and increased the number of wellbeing staff at its events as well as creating ‘pen profiles’ for all young musicians and staff, which highlight an individual’s specific needs to ensure they receive the right level of support.

OFA is an amazing charity that helped us tremendously throughout our adolescence and makes us proud now as adults. Although we’ve reached our final few months as Chairs of the Youth Board , we couldn’t feel more secure in passing the torch on to Chloe Morgan – our newly-recruited Trustee and National Orchestra for All (NOFA) alumna. Chloe is an inspiring and committed member of both NOFA and the Youth Board who impressed us all with her drive and passion for the charity, so while we remain as Trustees we look forward to watching her flourish as our new Youth Board Chair and Trustee! Finally, we’re very excited to share with you that OFA now has its first-ever mascot ... Stay tuned for further announcements!

Thank you all for such a great year – we can’t wait to see what’s in store next!

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2 interns 1 17 orchestral helped at NOFA tutors worked and Modulo with NOFA musicians courses YEAR 21 instruments 35 schools 9 6 online event signed up for Modulo Royal Northern and 37 parts days and 9 live event days IN NUMBERS College of Music for NOFA across NOFA and 27 new Modulo 10 ensembles set days 82 NOFA members of NOFA 1 up through Modulo 27 schools new arrangement engaged across activity written for NOFA of 1 award win (Music and participated inlive Modulo live Modulo the year Drama Education Awards female composer 1 online interactive activity 2022) and shortlisted in 3 Augusta Holmès’ the Royal Philharmonic sound artwork, 100s of welcomed as well as new wellbeing staff piece, ‘Andromède’ Society Awards 2022 ‘Modulo Rondeau’ 2 new musical a Wellbeing Lead and welfare calls arrangements Deputy Designated pre-, during and post-activity Safeguarding Lead 27 pieces of 8 guest composers, written for Modulo 5 NOFA media coverage conductors, musicians and ambassadors secured for OFA artists collaborated with

1 online summer course for Modulo, reaching 109 young musicians 9 music students worked with from Royal Northern College of Music 27 schools participated inlive Modulo live Modulo activity

91 MLT participants

10 online MLT modules

5 new OFA volunteers

4 music hub partners

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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:

empower energise all young music educators people to access to lead change high-quality ensemble in their local music-making, communities inspiring audiences and the wider sector

engage partners to roll out our approach in a way that supports their needs and regional network

National Orchestra for All (NOFA)

Modulo Programme

Music Leadership Training

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functions to express themselves. Working digitally has therefore presented new opportunities for us to provide support and develop more inclusive ways of working with young people.

After taking the time to reflect on NOFA members’ feedback during the pandemic, we decided to keep digital NOFA days long-term . That’s why before each post-pandemic residential, we have hosted several gatherings online with our young people in order to discuss what the residentials will be like with them, while also connecting and working on the music as a group as well as in sectionals and through one-to-one support.

Similarly, we received feedback that our Music Leadership Training events worked well online as they enabled us to drastically increase our national reach , connecting with music leaders across the country. This allowed us to overcome the barriers that many people face relating to travel, cost and rural isolation . And so, the pandemic has given us the space to reimagine how we work and improve our programmes in future.

Last year, we were thrilled to be able to return to live activity and held our first in-person event for NOFA at Westminster School, London, for our 2021 winter session . It was such an incredible feeling for us to connect and make music together in this way after the devastating effects of the pandemic, with the youth orchestra meeting each other for the first time after developing close friendships during our online events.

For all our in-person activity, we have followed relevant government guidelines and along with bespoke risk assessments, quickly worked out what additional measures were required to keep people safe. We felt this was hugely important as many of the young people and staff members we work with have complex medical needs, while others have social- and pandemic-related anxieties. However, above all we are committed to and this creating a safe environment for our young people and staff across everything that we do continues to be a top priority for our activity going forward.

The majority of feedback we have received has shown that young people, staff and audiences have all really enjoyed our return to in-person activity. We are incredibly grateful to our entire team for their resilience, optimism and care in making this transition such a success. Over the past year, having the opportunity to connect in person once again through joyful and powerful music-making has been a true highlight for us all.

During the pandemic, many of the young people we work with experienced digital fatigue as well as social isolation – but as a result, it is also important to acknowledge that returning to live activity has presented new challenges. For some NOFA members, their preference has been to communicate online – choosing whether or not to switch on their webcams, stay in long calls or breakout rooms, or using the chat and emoji

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“You make new friends “I got to learn “For me, this feels like new pieces, so and can share your “It’s all about a magical experience. that was good!” teamwork. If you’re interests with I’ve enjoyed it and I’m stuck on a note, happy throughout!” other people.” someone will help you get past that.” “My favourite part “It’s fun, interesting, was learning how to “The music sounds there’s nice people make different sounds a lot better when and good tutors. with our instruments. And it’s worth the you’re playing with a It really opened my big group, especially long journey!” ~~“~~ imagination!” ‘Crossfade’ with the backing track!” “I feel more confident after this experience “Here it doesn’t matter if because I’ve played in “It felt like you were you’re disabled because you front of lots of people, really important can still play music. Music is so now I feel like I can being part of a big a language we can all orchestra.” do anything.” ~~”~~ communicate by.”

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Youth leadership is integral to our work at Orchestras for All. We believe that young people are their own experts, best placed to tell us what they want and need. We are continually looking for new opportunities for young people to have more influence and ownership over our work:

Trustees

We are proud to have two NOFA alumni, Beth and Joelle , sit on our Board of Trustees. They play a pivotal role in shaping the future of OFA and have already influenced so much positive change. We are committed to increasing the representation of young people and OFA alumni on our Board, as we know this is crucial to our ongoing relevance, impact and success.

Youth Board

OFA’s Youth Board is made up of current NOFA members and OFA alumni aged 16-23 , who meet quarterly to connect, share their ideas and discuss important strategic questions faced by the charity. The Board is chaired by our NOFA alumni and Trustees, Beth and Joelle, who both champion, advocate and lead on sharing young people’s experiences and priorities with the team, trustees and external stakeholders. In 2021-2022, the Youth Board has directly shaped our strategy, activity, musical programming and communications.

Ambassadors

This year, we worked with five fantastic NOFA alumni , who joined our team as Ambassadors. They have played a crucial role in delivering OFA’s activity: leading social and wellbeing activities, supporting the core team with logistics as well as social media and writing blogs, while also becoming inspiring role models for our current cohort of NOFA members.

Young Leaders

NOFA members aged 16+ have the opportunity to take on leadership roles during NOFA activity. This year, each of our Young Leaders led and managed our famed recital evening, encouraging members to sign up and giving thought and care to the programming and production, and creating a welcoming, supportive and friendly atmosphere through their amazing introductions.

NOFA members

We want to give NOFA members as much ownership over the programme as possible. We carried out in-depth evaluations with young people for all NOFA activity, which has directly impacted scheduling, social activities and travel strategy. We constantly adapt to better meet the needs and priorities of young people.

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Our ethos

At Orchestras for All, the wellbeing, safety and happiness of all young people and staff is our top priority. As a team, we do everything within our power to promote an inclusive culture of wellbeing, ensuring that we remain as flexible and supportive as possible.

Promoting a safeguarding culture is the responsibility of all OFA trustees and staff and is championed by the Safeguarding Team, made up of the Executive Director, Head of Programmes and Partnerships (Designated Safeguarding Lead), Wellbeing Lead, Deputy Designated Safeguarding Lead (DDSL), and Safeguarding and Wellbeing Tutor.

All staff take part in safeguarding training prior to each project, where we take time to discuss young people with complex support needs as well as each young person in their section or group. Our Safeguarding Policy is updated and signed off by our Trustees annually to ensure we are in line with best practice as advised by NSPCC and other partners.

We are committed to empowering and unlocking the potential of every person we work with. This year, we created ‘pen profiles’ for young people in NOFA through phone calls or online forms to fully understand their bespoke support needs in their own words. Pen profiles are updated and shared appropriately with relevant team members. This has transformed our understanding of each young person we work with and drastically increased our ability to support each person’s wellbeing. In 2022, we also created pen profiles for our staff team and Trustees, to embed wellbeing at every level of the organisation .

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NOFA MEMBER TESTIMONY
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WHAT IS NATIONAL ORCHESTRA FOR ALL?

National Orchestra for All (NOFA) is a free, non-auditioned and completely inclusive national youth orchestra that welcomes young people aged 11-18 from all backgrounds, with any level of musical ability and playing any instrument.

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82 young musicians
engaged
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Our most recent NOFA cohort joined us for two years, participating together in digital events as well as in-person residentials at iconic music venue, Royal Birmingham Conservatoire .

10 days of activity

Our ‘NOFA family’ invites young people to:

Bespoke calls and one-to-one lessons in between each course

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KEY EVENTS

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NOFA MEMBER TESTIMONY
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SUMMER FESTIVAL 2021 HIGHLIGHTS

• Four days of online activity

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WINTER SESSION 2021

SPRING RESIDENTIAL 2022 HIGHLIGHTS

ARTISTIC

Across the 12 months, we rehearsed:

“In secondary school, I didn’t have much going for me and didn’t have many opportunities but then my teacher found NOFA and suggested that I should apply. I’m so happy I did – it’s amazing and has made my life much more interesting! There’s loads of activities happening and more opportunities to perform and connect with other people as well.” – NOFA pianist, Troy

WHO WAS INVOLVED IN THE PROGRAMME?

We worked with a total of 82 young people across our in-person activity, online events and tutor sessions, from the following groups:

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----- Start of picture text -----
Successful return to
in-person delivery
New team delivered Successful new
two exciting events partnership with
for young people Royal Birmingham
across the UK Conservatoire
N����s key
achievements
Learning to put
Hybrid event
on events safely
(online, satellite and
during peak
in London)
Covid-19 times
Wellbeing support �
phone calls ahead of
events and �pen
profiles� created for
each member that
outline their needs
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HIGHLIGHT OF THE YEAR: NOAH’S STORY

“My first concert in Leeds Arena was great. I got to play music and be part of a bigger thing . Going to Leeds was my first experience of being away from home – I have enjoyed going to different places. It has really helped my bass playing and I’ve grown in confidence and independence. I learnt to deal with challenges, including incorporating dancers into a performance!”

What’s your all-time favourite NOFA memory?

In 2017, double bass player, Noah, joined National Orchestra for All (NOFA) aged 14. Since then, the inspiring Youth Board member has been on quite the musical journey before completing his time with the orchestra in the summer of 2022. We caught up with the 19-year-old musician to hear his story...

“ Playing the music – my favourite pieces were Britten’s Young Person’s Guide to the Orchestra and Romanian folk song, ‘Spoitoresa’.”

Did you learn anything in particular during your NOFA experience that will help you in future?

How has NOFA impacted your life?

What made you choose NOFA over another orchestra

“Confidence. Now I feel able to try new things and talk to people, like I did when I joined the Youth Board.

or music group?

“When I joined NOFA, it wasn’t a great time. I had and wasn’t in school difficult personal circumstances because of bullying and unmet support needs for my autism. I was lonely and had no-one to talk to. My future was very uncertain and I felt helpless.

“I didn’t feel able to access anything else. I like having a week-long programme, spending so much time practising music and getting better. I feel included at NOFA – it doesn’t matter where you are from or what you are like, it’s all about the music rather than where you live or go to school.”

“ Independence . When I first started, I needed my mum to come with me but now feel confident going away with NOFA on my own and being able to talk to people about music as well as other things including being able to ask for help.

“I met Ed and Charlotte (fellow double bass players) who gave me more confidence in my bass playing. Ed encouraged me to do grades and I’m now working on Grade Six! I found other people I could talk to and share my love of music with. I am now planning to go to uni. It really helped seeing different campus life, accommodation and more through NOFA.

Any standout moments from NOFA 2021-2022?

“Finally, I’ve also improved my musical knowledge and understanding and would have the confidence to join another music group or orchestra as an adult!”

“I enjoyed playing a solo to do this when I started!”; I did not have the confidence

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We also spoke to Noah’s mum, Su, to find out more...

“As a parent I have watched Noah struggle and hover on the edge of groups, never really being able to join in . He was adamant that he needed me to come with him to his first NOFA course. Here I was able to see him relax and join in and gradually, I was able to take a step back knowing he was in safe hands and supported by such a fantastic team.

“Noah wasn’t quite ready to attend by himself the next year, so I accompanied him to Leeds again the following summer but did not attend rehearsals. I was able to venture into Leeds and for the first time in years, get a bit of time to myself. While that was not OFA’s aim, it made a huge difference to our family and my wellbeing . As Noah gained in confidence to attend more independently, we were given the gift of respite care; something that used to be provided by local authorities but is almost non-existent now. For all the families of disabled members, NOFA provides a much-needed and appreciated service by default!

“The whole course was just one brilliant thing after another; I saw Noah talking to other musicians and interacting. On the first evening, Noah also ventured into the common room by himself and then put himself to bed – this may seem trivial but these were major achievements . He had become so withdrawn and struggled so much, so NOFA has given him much more than the chance to perform wonderful music.

“ Edward Sharpe , a fantastic role model and ambassador for NOFA, took Noah under his wing and gave him several mini masterclasses. He encouraged Noah to do Grades, so it was good for him to get a standard of recognition of his progress and more importantly, a boost in confidence , exam experience and being able to develop life skills that were needed when he went back into school and sat his GCSEs and A-Levels. Edward also put him in touch with CLYTO , City of Leeds Youth Training Orchestra, who desperately needed a double bass player. Finally, Noah could attend a regular music activity – something he couldn’t do locally because he associated our County Music Service with the school where he was bullied and excluded from school life for being different.

“The two-hour round trip to Leeds every week was a commitment but it really developed Noah’s confidence travelling on the train – another key life skill that didn’t come naturally to him. Throughout his time with NOFA, Noah has practised many vital skills in a safe and supportive environment outside of his special school. I can’t stress enough how much this helped his development and wellbeing. Going to residentials in different parts of the UK and in university settings encouraged him to think about broadening his horizons and leaving home to progress with his education .

“Noah also joined in with icebreakers, spoke in front of everyone at the teatime sessions and even played a solo. I would particularly like to thank Emma – she went out of her way to support him and it meant the world to both of us. I can’t even begin to list all the times staff have taken the time to encourage and support Noah. They are all so skilled, professional and kind , I don’t think they know the huge difference they are making – OFA’s generous nature makes everything flow so naturally. Members are appreciated for who they are and what they contribute. The sum of the parts of the orchestra is definitely much greater than all the individuals.

“Noah has made huge progress socially, emotionally and musically . Music gives him all of these things and it was OFA that allowed him to take the first step to see the potential of where music could take him in life. Even before Noah got a place at a special school, his friends and family had all noticed a huge difference in him after his time with NOFA. He stood taller and spoke to people about the concert and course .

“NOFA’s recital evening also blew me away and seeing Noah perform made me cry! I couldn’t see how things could get any better but they did. I didn’t realise that Leeds Arena really is a vast arena. It sounds silly but because it was so near the city centre, I thought it was a local venue with an aspirational name and just expected something a bit bigger than our local forum. I just couldn’t believe what I saw and experienced. Thank you so, so much. OFA really has changed Noah’s life. Our family are extremely grateful for everything and cannot sing your praises highly enough!”

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WHAT DID WE LEARN?

NOFA members face a wide range of barriers to music-making. We have become experts in breaking down many of these barriers, allowing the young people we work with to enjoy their time and role in the orchestra.

At OFA, supporting young people�s wellbeing is as important as their musical development and we have witnessed first-hand how there is a direct correlation between the two.

Post-pandemic, the mental health of young people declined nationwide and so returning to in-person activity has been a major challenge for many of the young people we work with.

For many of our NOFA members, it was their first time performing in an orchestra, travelling across the UK and staying away from home. Travel anxiety was a particular barrier and we responded by providing one-to-one chaperones who collected young people from their homes.

Team-building activities are crucial to the programme. They enable us to cultivate a sense of camaraderie and teamwork among our young cohort.

We need to expand, diversify and upskill our wellbeing team even more to meet the needs of the young people we work with and provide essential one-to-one support, where needed.

To meet the medical needs of the young people we work with, it is essential to have a qualified nurse who can attend each of our events. We have also created a medicine policy, which will be reviewed and updated annually.

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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
young musicians collaborating online across the term to create their very own My Roots-themed film and soundtrack, led by com-
poser Dr Daniel Bickerton. Another 70 young musicians joined in with online videos led by the Modulo BBC Philharmonic and
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WHAT IS THE MODULO PROGRAMME?

Here’s Harri, an OFA Ambassador from Durham, to explain more about how Modulo Online worked: *** 27 schools attended live activity in 2021-22 Hi! I’ve played trombone with NOFA for four years and now I’m a NOFA Ambassador. This programme kickstarts an exciting culture of Orchestras for All’s Modulo Programme went online this year as well. The programme provided a much-needed sense of normality. *** 23 schools attended regional inclusive music-making in maintained secondary schools and communities nationwide. Any young person Modulo members got to catch up with their friends and meet new ones. Everyone was engaged in the sessions, working through Meets in spring 2022 can take part, regardless of their experience, skill the music and talking about their experiences at home during the past few months. level or chosen instrument . We also welcome all kinds

Modulo members got to work together creatively as well: during June, each Modulo member had sent in a short recording, and a *** 8 schools attended national course** of instruments in Modulo ensembles, which has included guitars, saxophones and melodicas, among others!

composer - Dan Bickerton - had drawn all the parts into one short track. The piece was premiered within a composition webinar online in summer 2021 during the course, with the arranger, Dan. Over the past year, we provided bespoke and flexible 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 *** musical arrangements catering to all abilities to the interactions with friends. I’ve realised that there’s no match for human interaction. 288 young musicians attended spring 35 schools we worked with, along with exclusive access Meets in 2021, from Gateshead to Kent to the online modules in our Music Leadership Training (MLT) programme and expert guidance from our tutors. Our events were held both online as well as in-person *** 109 young musicians reached through at prestigious venues and included workshops led by online summer course in July 2021 professional musicians – all with the overarching aim of encouraging music-making by and for young people.

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WHO WAS INVOLVED?

We employed 40 professional orchestral tutors across the five events, some of whom were new to OFA. A third of these were from our partner orchestras, City of London Sinfonia (CLS) and BBC Philharmonic . The OFA team was well represented at all events, taking on a variety of organisational roles.

We also worked with nine music students from Royal Northern College of Music (RNCM), who assisted our professional tutors to support young people during the Manchester Meet in March.

Composer and arranger, Emily Lim , joined us at all events in 2022, working with conductors on the creative composition aspect of the Meets. Meanwhile, guest conductors included Bob Pepper (London, March 2022) and Karin Hendrickson (online summer course, July 2021).

Many of the schools who joined us in March were excited to join again in July, with 288 musicians attending the spring Meets.

We also organised days that were inclusive and accessible to different abilities, providing both challenge and support where needed.

WHAT HAPPENED DURING THE PROGRAMME?

“It’s really fun and you get to meet so many different people. And the tutors and all the staff are really lovely and will help you a lot.” – Modulo participant

– Modulo leader

“I felt there was plenty of challenge for the children, managed well by the positive language and attitude of the professionals working with us.” – Modulo leader

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WHAT DID WE LEARN?

“It was great meeting other musicians and people who play the same instrument as me.” – Modulo participant

“The support we’ve had from Orchestras for All, the staff, the resources we’ve had, the opportunities to work with people like students at the RNCM and members of BBC Philharmonic have been amazing.”

– Modulo leader

“It was amazing for the young people to get a view inside the workings of a UK conservatoire.”

“My favourite part was seeing what noises we could make with our instruments, when we were working in the different groups. When other people in the activity made different sounds, it really opened up my imagination and it was quite good.”

“I thought the balance between full rehearsals, sectionals and composition was perfect. I don’t think the day could be improved.”

– Modulo leader

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YOUNG MUSICIAN’S SPOTLIGHT

“One of the young people who came to RNCM had only been playing drums for six weeks. She wasn’t having traditional instrumental lessons but played the kit as part of her Modulo, learning through online videos and copying others. She was so brilliant at the Meet, really pushing herself to get involved. She had a go at playing the timpani – an instrument she previously did not know existed – and loved it. She really stood out to me as someone who was totally immersed in the Modulo moment and now refers to herself as a ‘percussionist’ after this experience, believing she can be a professional musician.” – Sam Williams, Modulo Programme Manager

KEY ACHIEVEMENTS

Successful return to in-person events at inspiring venues nationwide

The 109 young musicians we reached through the online summer course in July 2021 included school bubbles, those isolating from home as well as those joining us in person from classrooms

We have built a strong partnership with Royal Northern College of Music, which will continue into the next season and beyond

An online national Meet with eight schools during the pandemic in July 2021, featuring a creative workshop hosted by Jack McNeill and Bryony Simcox �an interactive session exploring the character of the music, which led to the creation of a digital work that can be viewed online using this link: https://ofamodulo.wixsite.com/rondeau

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WHO WAS INVOLVED?

Hosted by OFA Trustee, Jess Boyd , our first webinar was led by saxophonist, author, speaker and music education consultant, Professor Nate Holder , with 54 music leaders in attendance.

Our second webinar was hosted by MLT Programme Manager, Sam Williams , and led by DJ, producer, university lecturer and National Orchestra for All composer, Jack McNeill , with a total of 37 attendees.

WHAT HAPPENED DURING

THE PROGRAMME?

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* 91 music leaders joined us
for live webinar workshops
76 orders of our online modules
 37 music leaders
attended in-person training
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WHAT IS MUSIC LEADERSHIP TRAINING?

Music Leadership Training (MLT) is a continuing professional development (CPD) programme that equips music leaders with the vital tools, strategies, leadership skills and practical conducting techniques they need to start or develop an instrumental ensemble in their school or local community.

Through this programme, we provide:

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WHAT DID WE LEARN?

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HOW WILL MUSIC LEADERSHIP TRAINING DEVELOP?

Become more related to the Modulo programme, so music leaders are encouraged to access more of the content and take more ownership over designing future events

Develop online resources to include our preferred language and up-to-date content

Seek and listen to the ideas of participants more when planning events

Provide opportunities for young people to be involved in event delivery by having a young spokesperson on panels where appropriate, for example an autistic member of NOFA or Modulo may come along to talk to participants about what it means to them to be an autistic musician. We could also include ambassador roles in the running of the webinars, supporting the team with social media marketing or moderating the chat function

Draw on our in-house expertise, with presentations being given by trustees, orchestral tutors and OFA core staff

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STRENGTHENING THE CHARITY

Donna Edmonds , and Steven Smith moved on Myffy Dymond from Orchestras for All at the end of 2021 and we thank them all for their dedication and hard work in championing our programmes throughout the pandemic.

Ellie Dunachie was appointed to the role of Head of Programmes and Partnerships in April 2022 and is our Designated Safeguarding Lead. Joining us from her previous role as Executive Producer at Multi-Story Orchestra, Ellie brings expertise in leadership, fundraising and programme management.

Ellie is also supported by George Lane , a Deputy Designated Safeguarding Lead in a secondary school in Yorkshire who brings his expertise to the charity on a freelance basis around his school commitments.

We continued to strengthen our freelance team, appointing a nurse , deputy designated safeguarding lead , stage manager and new wellbeing team members that reflect the broad diversity of the musicians we work with.

teaching, ensemble leading, lived experience, working with diverse and vulnerable groups, writing, publishing, content creation and communications as well as strong expertise in project management and impact evaluation.

Core team members, Paula Morgan and Sam Williams , joined OFA as Programme Managers of National Orchestra for All (NOFA) and Modulo and Music Leadership Training, respectively.

Based in Glasgow, Paula’s career has consisted of breaking down barriers to youth theatre and she has also worked with charities with a good track record of people living with disabilities as well as encouraging youth voice. Sam joins the team from the Wirral, following a career in music education in secondary schools and music services, and most recently worked as a Head of Music in Liverpool.

Key members of the management team now have a remote/hybrid working pattern with OFA’s colleagues based in Cornwall, Glasgow, London, Wirral and Rushmoor.

This benefits the team for personal reasons including accessibility, flexibility and wellbeing as well as having a positive impact on the environment and providing us with fresh regional perspectives and understanding.

There is a now broad skillset within the OFA management team, with backgrounds in music

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46

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 .

49,223 total page 30 blogs published, views for OFA’s website and 71 new email subscribers with OFA’s blog getting 50% more page views 42,309 unique page (14,433) than in views 2020-21 (7,298) Instagram : 34,753 total reach (2,896 monthly average) and 4,244 post interactions 27 pieces of media Facebook : 251,881 total reach coverage secured from 2021-22 (20,990 monthly average) and press releases – including 21,200 engagements from Royal Philharmonic Society (following OFA’s Award nomination), snapshot Twitter : 316,409 Classical Music, Music tweet impressions (26,367 Mark, Orchestras Live, monthly average) and Sound Sense, Charitable Reached 77,370 people on 2.11% average engagement rate Radio, CAN, Music Teacher Facebook with OFA’s RPS Awards Mag, Ensemble Magazine, news through paid targeting YouTube : 6,474 total views Scala Radio, Music (540 monthly average) and Teachers’ Association, 64 hours of watch time Reached 39,170 people on Music & Drama Education Facebook with OFA’s ‘ 7 ways to Awards and David Taylor support autistic musicians ’ listicle LinkedIn : 286 followers (+120) during Autism Awareness week

OFA joins TikTok in 2022!

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Orchestras for All (1150438) Annual report – Year ended 30 June 2022

48

7 ways to support a￿lStiC musicians in youp youth D￿heS￿l Watch young people facing bappieps to music-makn.ng sharn moving w0￿S in weptul new video 0￿hestraS fop All wins awanl fop Outstsnding Musical Initiaiive at the Music aml D￿rna Educats"N Aydnls 20T OrcfE5tTr5torAII 11 LGBTQIA+ musicia￿$ who totslty pock oup wortd music&drama education awards RPS AWa￿S 2021: o￿hESIr8S for AU shopU￿ in category £VERYThING I WBEEN OpchBslpas fop All's Music Changes Lives r￿llpa￿l paises ovep £ll,0001 Outstanding Musical I nitiative CtrchestraslorAII ini iuti¥tiC 18 i yiuni ii¥iciii'i Mpupprnp- wl th tsu I If iyporL ypopluity, Ihpy cill Ihrt iirtV:lT, lTrtheUKane5timatEd7￿OOO peoplehJveadiagrD515Dlauti5m.wthllnElnlWdthost bwnooursvurywple. ￿n￿￿aSASD1autl5M5p￿￿￿d1s￿e[l.￿11auts5m5r￿￿lkMEund￿￿)ar AwW5lQrAspEw5ynd￿).Ofte￿U￿edtode5￿[￿￿￿￿l￿Pry1eM￿h￿￿?￿ry waytO'no￿UtypK3VVp￿ It￿lS￿Ona5￿(truM.5￿￿W￿I￿￿&w'SQrn Mayleedlithwhtssupmwh¢￿so￿en1Ieqvi￿dI1he1p[rtsMa￿1enl0r(art1. liidiio wki wp ptsyltsl loth%'ii? pmd M_ ialOtth￿lI3S1￿pj1.￿¥Sut￿qUdllty dwpr411ydnd 14per 49 Orchestras for All 11150438} Annual report- Year ended 30 June 2022 50

THE YEAR AHEAD Jul ‘22 - Jun ‘23

YOUTH LEADERSHIP

We are delighted to share plans for our year ahead, which includes:

We will:

PROGRAMMES

We will:

WELLBEING

We will to be rolled strengthen our wellbeing offer out across the charity to ensure that all young people, staff and trustees are supported.

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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

Programmes OFA event staff may not have the A skills audit is in process of the team, trustees and requisite knowledge to support freelance team and we will upskill or recruit specialist a broader range of needs skillsets required to support the increased needs of post-pandemic. the young people we work with. Partnerships Third parties roll out OFA’s approach A strategic partnership agreement will be in place to with limited success, impacting the ensure that outcomes and values align, which will be brand’s association with quality. regularly reviewed and learnings can be integrated.

Safeguarding We must ensure continued online Robust mechanisms will be put in place to ensure safety for all participants of our the safety of our online users, including an Online programmes. Safeguarding Policy and we have appointed two additional freelance safeguarding and wellbeing experts to support the delivery of this work. Funding There may be an overreliance on An application has been submitted for us to become short-term income streams and a National Portfolio Organisation of Arts Council a need for longer-term financial England, with the aim of achieving greater financial sustainability. stability in future. Staffing Staff overstretch negotiating the Senior management team and trustees regularly ever-changing context that we review staff capacity and deploy freelance and work in. volunteer support, where required. Wellbeing There may be increased mental Wellbeing will be a key focus of our work moving health challenges for participants forward as we gain training in mental health first aid and staff post-pandemic. and evolve our wellbeing strategy.

Orchestras for All (1150438) Annual report – Year ended 30 June 2022

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54

LEGAL AND ADMINISTRATIVE INFORMATION

Senior management Nick Thorne Donna Edmonds Ellie Dunachie

Nick Thorne Executive Director Donna Edmonds Head of Programmes (until January 2022) Ellie Dunachie Head of Programmes and Partnerships (from April 2022) Susanna Eastburn MBE, Chair Jessica Boyd Kate Danielson Simon Page Philip Whalley Alice Poole (retired as Trustee on 2 Dec 2021) Beth White Emily Sayers (retired as Trustee on 9 June 2022) Joelle Sogunro Rosie Parkyn (appointed as Trustee on 2 Dec 2021)

Board of trustees

Susanna Eastburn MBE, Chair Jessica Boyd Kate Danielson Simon Page Philip Whalley Alice Poole Beth White Emily Sayers Joelle Sogunro Rosie Parkyn

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

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FINANCES AND RESERVES

During the current financial year, the Charity achieved a surplus of £41,046 (2020-2021: surplus of £10,199), increasing total reserves at year end to £240,686 (2020-2021: £199,640). Of these reserves £227,906 (20202021: £187,060) were unrestricted as to use. A total of £52,329 (2020-2021: £52,329) of the total reserves was designated for National Orchestra for All, leaving £175,577 (2020-2021: £134,731) 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, of which £7,671 were utilised in the prior period. In the current period none of the reserves have been utilised. At the end of the current period the Trustees extended the purposes of this fund to cover all three programme areas, and 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 £175,577, 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, 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.

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57

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 60 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 2 December 2022 and signed on its behalf by:

Susanna Eastburn Chair of Trustees

Date:

The Trustees are responsible for keeping adequate accounting records that are sufficient to show and explain

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59

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

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

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.

  1. 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.

Haines Watts

Haines Watts (Feb 28, 2023 16:10 GMT)

Shaun Brownsmith FCA

For and on behalf of Haines Watts Chartered Accountants, 4 Claridge Court Lower Kings Road, Berkhamsted HP4 2AF

Date: 24 February 2023

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61

STATEMENT OF FINANCIAL ACTIVITIES

Notes
Income from:
Donations and legacies
3
Charitable activities
4
Investments
Total income
Expenditure on:
Raising funds
5 & 6
Charitable activities
National Orchestra for All
5 & 7
Modulo Programme
5 & 8
Music Leadership Training
5 & 9
Charitable activities
Total expenditure
Net income/(expenditure)
Reconciliation of funds
Balance brought forward
14 & 15
Balance carried forward
14 & 15		 Unrestricted
Restricted
Total
Total
Funds
Funds
Funds
Funds
2022
2022
2022
2021
£
£
£
£
100,242
322,217
422,459
290,650
16,627
-
16,627
6,727
20
-
20
-
116,889
322,217
439,106
297,377
20,083
3,914
23,997
29,616
11,267
216,124
227,391
117,574
30,252
76,827
107,079
82,317
14,441
25,152
39,593
57,671
55,960
318,103
374,063
257,562
76,043
322,017
398,060
287,178
40,846
200
41,046
10,199
187,060
12,580
199,640
189,441
12,780
240,686
199,640
227,906

Balance brought forward 14 & 15 187,060 Balance carried forward 14 & 15 227,906 12 The notes on pages 65 to 80 form part of the financial statements.

BALANCE SHEET

Notes
Fixed assets
Tangible assets
11
Current assets
Debtors and prepayments
12
Cash at bank and in hand
Creditors:
amounts falling due withing one year
13
Net current assets
Net assets
Funds of the charity
Restricted funds
14 & 15
Unrestricted funds
General funds
14 & 15
Designated funds
14 & 15		 23,010
315,873		 Total
Funds
2022
£
2,535



238,151
44,172
267,821		 Total
Funds
2021
£
-



199,640
338,883
(100,732)		 311,993
(112,353)
175,577
52,329


134,731
52,329
240,686 199,640
12,780


227,906		 12,580


187,060

240,686 199,640

The notes on pages 65 to 80 form part of the financial statements.

The financial statements were approved and authorised for issue by the Board of Trustees on Thursday 2 December 2022 and signed on their behalf by:

Susanna Eastburn

Chair of Trustees

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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 2022, 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 2022 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.

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66

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
2021
2021
2021
£
£
£
34,728
255,922
290,650
6,727
-
6,727
41,455
255,922
297,377
22,308
7,308
29,616
7,671
109,903
117,574
9,963
72,354
82,317
2,053
55,618
57,671
19,687
237,875
257,562
41,995
245,183
287,178
(540)
10,739
10,199
187,600
1,841
189,441
187,060
12,580
199,640

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67

3. Income from donations and legacies

Grant income
Donations
Fundraising events
Grant income
Donations
Fundraising events
Service user contributions
Service user contributions
Income from charitable activities		 Unrestricted
Restricted
Total
Funds
Funds
Funds
2022
2022
2022
£
£
£
48,500
322,217
370,717
48,788
-
48,788
2,954
-
2,954
100,242
322,217
422,459
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
2022
2022
2022
£
£
£
16,627
-
16,627
16,627
-
16,627
Unrestricted
Restricted
Total
Funds
Funds
Funds
2021
2021
2021
£
£
£
6,727
-
6,727
6,727
-
6,727

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
2022
2022
2022
2022
2022
£
£
£
£
£
17,106
2,087
2,548
2,256
23,997
80,085
101,784
24,145
21,377
227,391
46,025
39,618
11,370
10,066
107,079
28,571
3,096
4,204
3,722
39,593
171,787
146,585
42,267
37,421
398,060
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

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.

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70

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 Trustee meeting expenses Trustee recruitment

6. Expenditure on raising funds

Total Total
Funds Funds
2022 2021
£ £
27,099 25,238
1,608 7,089
6,304 6,353
2,410 2,520
37,421 41,200

Direct staff costs Direct other costs Indirect costs

Total Total
Funds Funds
2022 2021
£
945
900		 £
945
900		 Direct staf costs
Direct other costs
323 - Indirect costs
242 675
2,410 2,520
Unrestricted Restricted Total
Funds Funds Funds
2022 2022 2022
£ £ £
17,106 - 17,106
2,087 - 2,087
890 3,914 4,804
20,083 3,914 23,997
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

Orchestras for All (1150438) Annual report – Year ended 30 June 2022

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71

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
2022 2022 2022
£ £ £
- 80,085 80,085
2,839 98,945 101,784
8,428 37,094 45,522
11,267 216,124 227,391
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

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
2022
2022
2022
£
£
£
17,848
28,177
46,025
8,435
31,183
39,618
3,969
17,467
21,436
30,252
76,827
107,079
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

Orchestras for All (1150438) Annual report – Year ended 30 June 2022

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73

9. Expenditure on Music Leadership Training

Direct staff costs Direct other costs Indirect costs

Direct staff costs Direct other costs Indirect costs

Unrestricted Restricted Total
Funds Funds Funds
2022 2022 2022
£ £ £
10,252 18,319 28,571
2,721 375 3,096
1,468 6,458 7,926
14,441 25,152 39,593
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
2022
2021
£
£
194,580
160,053
13,646
9,946
5,828
3,754
214,054
173,753

The average headcount during the period was eight persons (2021: seven persons). No employee received employee benefits of more than £60,000 (2021: NIL). The total employee benefits paid to key management personnel during the year was £61,587 (2021: £63,261). 11. Tangible fixed assets


11. Tangible fxed assets
Cost
As at 1 July 2021
Additions in year
Disposals in year
As at 30 June 2022
Accumulated depreciation
As at 1 July 2021
Charge in year
Disposals in year
As at 30 June 2022
Net book value
As at 1 July 2021
As at 30 June 2022		 Computer
equipment
Total
£
£
2,847
2,847
2,874
2,874
(2,847)
(2,847)
2,874
2,874
2,847
2,847
339
339
(2,847)
(2,847)
339
339
-
-
2,535
2,535

Orchestras for All (1150438) Annual report – Year ended 30 June 2022

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75

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

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
2022 2021 2022 2022 2022 2022 2022
£ £ £ £ £ £ £
7,815 1,150 Unrestricted funds
14,863 9,022 General funds 134,731 116,889 (76,043) - 175,577
332 34,000 Designated funds
23,010 44,172 Programme reserve 52,329 - - - 52,329
187,060 116,889 (76,043) - 227,906
Restricted funds
Total Total National Orchestra for All 3,000 196,612 (196,412) - 3,200
Funds Funds Modulo Programme - 50,000 (50,000) - -
2022 2021 Music Leadership Training - 5,000 (5,000) - -
£ £ Permanent salaries - 5,000 (5,000) - -
12,487 3,095 COVID - 19 - 30,000 (30,000) - -
4,353 3,224 Access to Work - 1,822 (1,822) - -
1,071 873 Communications 9,580 33,783 (33,783) - 9,580
7,601 6,516 12,580 322,217 (322,017) - 12,780
74,803 97,906 199,640 439,106 (398,060) - 240,686
417 739
100,732
Total
Funds		 112,353
Total
Funds		 Designated funds
Programme reserve/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. At the end of the current
period the Trustees extended the purposes of this fund to cover all three programme areas, and will continue to monitor fundraising
2022 2021 progress for programme delivery while maintaining reserve levels in line with our policy.
£ £
97,906 107,413 Restricted funds
(97,906) (107,413) National Orchestra for All: These are funds received to support the National Orchestra for All programme and were received from a
74,803 97,906 variety of funders, including an anonymous European foundation.
74,803 97,906

77

Orchestras for All (1150438) Annual report – Year ended 30 June 2022

78

15. Analysis of net assets

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.

Access to WORK: These are funds received through the DWP Access to Work scheme.

Communications: These are funds received to support the work of the Content and Communications Producer, as well as wider work.

Unrestricted funds
General funds
Designated funds
National Orchestra for All
Restricted funds
National Orchestra for All
Modulo Programme
Music Leadership Training
Permanent salaries
COVID - 19
Communications		 Balance
Income
Expenditure
Transfers
Balance
brought
in the
in the
between
carried
forward
year
year
funds
forward
2021
2021
2021
2021
2021
£
£
£
£
£
127,600
41,455
(34,324)
-
134,731
60,000
-
(7,671)
-
52,329
187,600
41,455
(41,995)
-
187,060
-
50,000
(47,000)
-
3,000
1,171
54,938
(56,109)
-
-
-
51,020
(51,020)
-
-
-
17,500
(17,500)
-
-
670
53,333
(54,003)
-
-
-
29,131
(19,551)
-
9,580
1,841
255,922
(245,183)
-
12,580
189,441
297,377
(287,178)
-
199,640
15. Analysis of net assets
General Designated Restricted Total
Funds Funds Funds Funds
2022 2022 2022 2022
£ £ £ £
Fixed assets 2,535 - - 2,535
Current assets 211,306 52,329 75,248 338,883
Current liabilities (38,264) - (62,468) (100,732)
175,577 52,329 12,780 240,686
General Designated Restricted Total
Funds Funds Funds Funds
2021 2021 2021 2021
£ £ £ £
Current assets 184,616 52,329 75,048 311,993
Current liabilities (49,885) - (62,468) (112,353)
134,731 52,329 12,580 199,640
Total
16. Other fnancial commitments
At 30 June 2021, the Charity had annual future minimum lease payments under a non-cancellable operating lease for the ofce
premises as set out below:		 Total
Funds Funds
2022 2021
£ £
Due within one year 2,500 2,500
2,500 2,500

17. Other financial commitments

During the year, no Trustee received any remuneration (2021: £NIL). No members of the Board of Trustees received reimbursement of travel expenses (2021: No members received expenses totalling £NIL).

18. Related party transactions

During the year, the total amount given as unrestricted donations by the trustees was £2,166 (2021: £1,693).

19. Guarantees and secured charges

As of 30 June 2022, the Charity did not have any outstanding guarantees to third parties nor any debts secured against assets of the Charity (2021: £NIL).

Orchestras for All (1150438) Annual report – Year ended 30 June 2022

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79

THANK YOU!

The Trustees are very grateful to all the trusts, foundations, corporates, public funders, individual givers, partners and community groups who supported Orchestras for All’s work during the year, without whom none of our music-making opportunities would have been possible.

2021-22 trusts, foundations, corporates and public donations (for a full list, please see our website): 29th May 1961 Charitable Trust, Arts Council England National Lottery Project Grants, Ashley Family Foundation, Association of British Orchestras Sirens Fund, Clore Duffield Foundation, DMF Trust, D’Oyly Carte Charitable Trust, Elliott Simmons Charitable Trust, Finzi Trust, Foyle Foundation, Garfield Weston Foundation, Harold Hyam Wingate Foundation, HarperCollins Publishers, Harriet’s Trust, Headley Trust, The London Chorus, Promenaders’ Musical Charities, Rachel Baker Memorial Charity, Radcliffe Trust, Rayne Foundation, Sarum Hall School Parents’ Association, Scops Arts Trust, University of Warwick, Youth Music and Arts Council England's Culture Recovery Fund.

2021-22 partners: Royal Academy of Music, Big Noise, Sistema Scotland, Cecil Sharp House, MAC Birmingham, Royal Birmingham Conservatoire, Royal Northern College of Music, Sound Connections, Westminster School

Through ongoing collaboration with our valued partners, we hope to further grow OFA’s impact and make a positive difference to the lives of thousands of young people nationwide through the power of orchestral music-making. Going forward, we look forward to building new and existing relationships with our many partners as well as conservatoires across the UK, enabling us to train and develop emerging musicians in inclusive settings.

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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)
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