ORCHESTRAS I FORALLI ANNUAL REPORT JULY 2022-JUNE 2023
OUR VISION Any young person aged 11-18 can access the benefits of group music-making in the UK
As we reflect on the past year, we are thrilled to share our incredible journey at Orchestras for All (OFA) and express our gratitude to each and every one of you who played a pivotal role in making it a resounding success . Together, we have achieved milestones that not only make us feel proud to be part of this charity but also set the stage for an even more impactful future .
As Trustees who were once members of National Orchestra for All (NOFA), we firmly believe in the power of youth voice and have taken significant strides towards championing it, so one of our key triumphs this year has been the development of youth leadership opportunities at OFA.
As part of this, we handed over the Youth Board to current OFA Ambassador, Chloe Morgan , and welcomed her to the Board of Trustees . Chloe’s energy and fresh perspective has already made a positive impact on our decision-making processes.
We also further invested in our wellbeing approach , ensuring that OFA’s programmes not only inspire creativity but also nurture the individual needs of every participant – making our initiatives even more inclusive and accessible , while opening up doors for diverse young minds to thrive.
This year, the number of NOFA members has doubled compared to last year, which is a testament to the growing influence and reach of our organisation. Through Modulo , we reached 613 young people nationwide, directly impacting their lives and fostering a sense of community through music making. Plus, an astounding 7,000 young people have been indirectly impacted through our Music Leadership Training programme.
As we look now towards the future, we are excited to see what else we can achieve together at OFA and where youth voice will take us – and with our new Youth Board cohort, we’re ready to take on whatever 2024 brings!
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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
[National Orchestra for All (NOFA)]
To achieve this vision, we:
empower energise all young and upskill people to access music educators high-quality ensemble to lead change music-making, in their local inspiring audiences communities and the wider sector
engage partners to roll out our approach in a way that supports their needs and regional network
[Modulo Programme]
[Music Leadership Training (MLT)]
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STRENGTHENING THE CHARITY
OFA proudly became a National Portfolio Organisation for Arts Council England (ACE) in April 2023. Thanks to ACE and our loyal donors, funders and supporters, we were able to strengthen the charity and welcome individuals with diverse skills and experience levels, enhancing our impact.
Core team: Helen Cordina was promoted to the role of Operations Manager, while Jenny Forbes joined us as Programmes Coordinator to support the delivery of the charity’s three programmes.
Freelance team: Sasha Mattock was appointed as Wellbeing Lead, overseeing wellbeing across all areas of the charity. Rocco Brunori was welcomed as our Associate Conductor for 2023-24, Chris Tindall as Production Manager, and student orchestral tutors from Royal Northern, Royal Academy and Royal Birmingham conservatoires.
Trustees: Rachael Adediran , Lucinda Coulthard , Chloe Morgan , Philip Raperport and Dominic Parker joined the Board. We also send huge thanks and appreciation to Kate Danielson , who steps down from the Board after serving since 2013 and as Chair for three of these years.
three values of collaboration , ownership and inclusion in practice.
Embedded Youth Leadership: strengthened alums’ roles within the core and wider teams; recruited 10 new ambassadors in paid roles to support OFA’s three programmes throughout the course of the year; a quarter of our Board of Trustees was formed by NOFA alums (including Chloe Morgan ); recruited a Youth Leadership Coordinator to join us from July 2023.
Widening our charity’s reach: through our attendance at 13 conference sessions, events and building upon our music education hub and music college partnerships, we continue to raise awareness of our vital work across the arts sector.
Young people are part of all decision-making at OFA, including co-curating the Artistic season with Artistic Director, Emma Oliver-Trend .
Our three programmes:
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Reached even more vulnerable young people,
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schools and teachers;
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Invested in training and development of our
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freelance teams, enabling them to deliver our values in practice on the ground, and
Investment in quality: all core and freelance staff were offered paid training before each new project, aligning in delivering the charity’s
- Offered paid leadership roles for our alumni.
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Youth leadership lies at the heart of Orchestras for All. We believe that young people are best-placed to tell us what they want and need. We are constantly adapting to meet their needs and priorities, providing opportunities for them to influence and own our work.
Trustees
We are proud to have NOFA alums, Beth White , Joelle Sogunro and Chloe Morgan , on our Board of Trustees.
They play a pivotal role in shaping OFA’s future 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 . They meet quarterly to connect, share their ideas and discuss important strategic questions faced by the charity.
In 2022-23, the Youth Board shaped OFA’s strategy, activity, musical programming and communications. The Board was chaired by NOFA alumni and Trustees, Beth and Joelle, who have championioned, advocated and led on sharing young people’s experiences and priorities with the team, trustees and external stakeholders.
Ambassadors
This year, we recruited 10 inspiring 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, while also becoming inspiring role models for our current NOFA members.
Young Leaders
During NOFA activity, NOFA members aged 16+ have the opportunity to take on leadership roles. This year, each of our Young Leaders led and managed our famed recital evening, encouraging members to sign up.
They also gave thought and care to the programming and production of the evening, creating a welcoming, supportive and friendly environment through their brilliant introductions.
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“I feel more confident in ensemble playing, and have enjoyed discovering new music and instruments. I’ve also made many new friends through Modulo, who I talk to regularly!”
“I would describe NOFA as a community where everyone belongs and nobody gets left out.” “I think if we have orchestras with more diversity, it can bring new ideas as music from around the world comes in all different forms.” ~~“~~ “In a lot of orchestras, the only person with the power is the conductor. I’m just a person on the euphonium but at NOFA, I’ve had talks with people to try and see if I can learn new repertoire and even conducted the orchestra myself, so I think that’s pretty cool!”
“Attending NOFA made me have the confidence to be myself without being judged and also it gave me the confidence to perform infront of people without being judged.” “I enjoyed the opportunity to visit a new place and work in some of the different Modulo music spaces. Everyone was very kind and encouraging and made Modulo an enjoyable experience.”
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Collaborative programming: All pieces programmed were finalised using votes from young people, who we engaged during the programming process through callouts for ideas, Youth Board shortlisting, and full orchestra listening and voting activities.
V alues in practice: We now underpin our music leadership with our organisational values, which gives us a defined foundation to work from and allows us to explore and articulate more effectively.
Championing under-represented composers: Our 2022-23 programme included three arrangements by female composers: ‘Andromède’ by Augusta Holmés; the first movement of Florence Price’s Symphony No. 1 (exposition), and the first movement of Alice Mary Smith’s Symphony in A Minor.
High-quality arrangements: These have been improved by our adoption of orchestrators for specific instrumental groups, along with a more habitual, well-practised approach to ‘tutor checking’, with orchestral tutors proofreading and checking the individual instrumental parts.
Deepening musicianship: The NOFA programme included a unique, newly-commissioned piece that was learnt and performed entirely by ear – ‘Strength in Numbers’, by Joe Broughton and NOFA. We also trained orchestral tutors, including two students, to help us deliver learning by ear. We value all types of music-making – from notation, braille and composition, to learning by ear and improvisation.
Creative experiments: Modulo participants developed their musical skills by taking inspiration from two contrasting pieces, linking them and creating a seamless performance with improvisatory sections.
New Associate Conductor role: The recruitment of Rocco Brunori into this role supports a more consistent approach to our music leadership and new opportunities for collaborative artistic developments.
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Our ethos
The wellbeing, safety and happiness of all young people and staff is our top priority. We do everything in our power to promote welcoming, inclusive, accessible spaces, ensuring that we remain as flexible and supportive as possible.
Promoting a positive safeguarding culture is the responsibility of all OFA trustees and staff and is championed by the safeguarding team.
All staff complete safeguarding training prior to each project, which involves discussing the complex support needs of young people. Our Safeguarding Policy is updated and signed off by 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 all individuals we work with. This year, we used phone calls and online forms to create 60 ‘About Me’ profiles for NOFA members, helping us to understand their bespoke support needs as shared in their own words. These profiles are updated and shared with relevant team members, giving staff more confidence when working with each young person and transforming our understanding of them as well as our ability to support their wellbeing. We also created About Me profiles for our staff team and Trustees, embedding wellbeing at every level of the organisation .
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NOFA MEMBER TESTIMONY
WHAT IS NATIONAL ORCHESTRA FOR ALL?
National Orchestra for All (NOFA) is a free,
We worked with
non-auditioned and inclusive national youth orchestra.
112 young musicians
It welcomes young people aged 11-18 from all
backgrounds, with any level of musical ability and across the year
playing any instrument.
Our 2022-23 NOFA cohort enjoyed a series of virtual events as well as
in-person residentials at Royal Birmingham Conservatoire . 9 days of activity
At NOFA, participants are invited to:
• Bespoke calls and
Play incredible music with other young people from all walks of life
one-to-one lessons
• Learn, have fun and develop – musically and socially
•
Improve their wellbeing and confidence within a supportive,
safe and nurturing environment
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DOUBLING THE NUMBER OF NOFA MEMBERS
July 2022 was the end of the season, both for NOFA and for the cohort who had kept the orchestra alive for two-and-a-half years during the pandemic. Of this cohort, 47 young people attended our summer residential.
When recruitment for the 2023-24 cohort began in August 2022, only 40 per cent of previous NOFA members were eligible to reapply due to their age.
However, by NOFA’s spring concert in April 2023, we had double the number of attendees (80 young musicians in total). Our membership then continued to grow in the lead up to the summer residential, with 60 per cent being new members.
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Our ongoing efforts to promote inclusivity have had a huge impact on the young people we work with:
INCLUSIVITY
We are proud to be pioneering what inclusivity means, adapting our activities to meet the needs of the young people and staff we work with.
Here are a few of the ways we were able to promote inclusivity over the past year:
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Created an environment where everyone is supported to
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participate in the way they need as an individual.
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Increased the number of staff in our wellbeing team
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to meet the needs of the young people we work with – in particular, those requiring one-to-one support, including a Wellbeing Safeguarding Tutor and a total of 33 wellbeing tutors (up from 14) across the year as well as two interns.
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Bespoke music arrangements provided for every NOFA
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member , based on their individual and diverse needs.
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Produced Braille parts for a visually impaired NOFA
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member in collaboration with the Royal National Institute of Blind People, the One-Handed Musical Instrument Trust and one of our wellbeing tutors, Asteryth Sloane.
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Hundreds of one-to-one calls with our Wellbeing Lead
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for NOFA members to support them in preparing for the summer residential.
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A consultation with a visually impaired freelancer
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to improve the inclusivity of all our resources and communications as well as create a ‘best practice’ guide.
- “I like the accessibility for everyone in the group.” – NOFA member
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“I liked how the music was inclusive and it gave the chance for everyone to be involved.” – NOFA member
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“First of all, I just wanted to reiterate what a fantastic time Rowan had at NOFA!
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Thanks so much for all your organisation that went into making it such a success. I literally had an embarrassing teary emotional response to the run through on the last day!” – Parent of visually impaired member
WHAT DID WE LEARN?
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NOFA members face a wide range of barriers to music-making. We have
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become experts at breaking down these barriers by encouraging the young people we work with to express their needs and increasing our focus on wellbeing.
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For many members, joining NOFA meant new experiences. Whether it was
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their first time ever playing in an orchestra, performing to an audience, travelling away from home or travelling to different parts of the UK, we provided tailored support throughout for those who needed it.
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Team-building activities – musical or otherwise – are crucial to the success of
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the programme. We arranged all kinds of activities for both the young people and staff who joined us to cultivate a strong sense of camraderie.
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YOUTH LEADERSHIP IN MUSIC
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NOFA members worked with Joe Broughton (joebroughton.com) to
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create learn-by-ear piece, ‘Strength in Numbers’, performed without sheet music, working with two students in our team of 16 orchestral tutors and a total of 28 orchestral tutors across the year.
• NOFA members chose to play all three new pieces of music, including Symphony No. 1 in E minor , written by under-represented classical composer, Florence Price, ‘Ghost Town’ by The Specials and the Hollow Knight theme.
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NOFA members created a playlist , in which four new arrangements were
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made to be played in fun, relaxed music workshops at the next residential.
What did NOFA members say?
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“I love the diversity in the music.”
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“I like the variation as there’s classic music and modern music (such as Hollow Knight).”
“I like the workshops giving a chance to learn music by ear, so there’s also a range in playing style from a more traditional notated piece, to jazzy-feeling improvisation.”
“I enjoy how it all comes together when played with all the instruments and I think that all the music is a good choice.”
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HIGHLIGHT OF THE YEAR: MICHAEL’S STORY
Michael picked up a cello for the first time aged seven and hasn’t been able to put it down since. After learning to play the sweet-sounding string instrument, he later joined National Orchestra for All (NOFA) to share his love of music with others. We caught up with Michael and his mum, Antonia, to find out more...
Antonia: “An organisation called Turtle Key Arts, who run schemes for people with disabilities, suggested that Michael apply to NOFA. During his first year in NOFA, everything was online [due to the pandemic] and so for a long time, he did not really understand what it was all about.
residential was nice because I loved playing at Trinity Catholic School. Performing at Nottingham’s Albert Hall was great too: I felt really involved.
“In spring 2023, I went to Birmingham with the orchestra. My favourite thing about the residential was taking part in the orchestra. It felt like lots of fun.”
“Finally, in-person rehearsals started a year later and he was very excited to experience playing in an orchestra for real. Now, he loves the live residential programmes. It gives him a chance to be a bit more independent and also to feel part of a group.
What’s your all-time favourite NOFA memory?
Michael: “At the end of the Albert Hall concert, I bowed to everyone. It felt quite exciting!”
How did Michael discover the cello?
Michael: “In 2012, I started on the cello – I had cello ensemble and I enjoyed that.”
“This is especially important for Michael as his Autism means that he does not have the skills to take part in conversations, so he is frequently excluded from other social interactions in everyday life.”
Antonia: “Yes, Michael loves to perform to an audience. He led an impromptu invitation to the audience to join in a round of “hip hip hoorays”!
Antonia: “Michael showed an interest in music from a very young age – he started ballet at age five and cello at age seven.
“He was delighted to return to the Royal Birmingham Conservatoire in 2023 for more orchestral music (not to mention the hotel breakfasts and being able to travel in the lifts there every day!).
Any standout moments from NOFA 2022-23?
What made Michael choose NOFA over another orchestra or music group?
Michael: “In 2022, I went to Nottingham. The summer
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invited to attend our four spring and three summer Modulo Meets – exciting in-person events that took place in four areas of England.
WHAT IS THE MODULO PROGRAMME?
Modulo supports music teachers and ensemble leaders to kickstart an exciting culture of inclusive music-making in secondary schools and communities nationwide. Young people aged 11-18 can take part regardless of their experience, skill level or chosen instrument.
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35 schools signed up to Modulo in 2022-23
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12 schools from Arts Council England’s Levelling up for Culture locations
Modulo ensembles don’t just include traditional orchestral instruments ; we welcome guitars, ukuleles, saxophones, melodicas and tabla, among others!
- 613 young people reached nationwide through the 2022-23 Modulo Meets
Modulo also provides leaders with flexible, accessible arrangements – with bespoke scores for their group, access to the online modules and webinars in our Music Leadership Training (MLT) programme and expert guidance from our team. Ensembles can also choose to have an in-school workshop , led by our team of professional musicians. In 2022-23, all ensembles were
- 24 new ensembles set up, including one of home educated people
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WHO WAS INVOLVED?
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We employed 31 professional orchestral tutors across our
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in-person activity, including 11 new musicians .
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We worked with nine music students from Royal Northern
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College of Music and two from the Royal Academy of Music , who assisted our professional tutors to support young people.
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We offered paid orchestral tutor placements to two
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students from the Royal Birmingham Conservatoire , shadowing our professional tutors in percussion and double reeds. Sehyogue and Becca made fantastic team members and were brilliant in supporting the young musicians.
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Events were conducted by OFA’s Artistic Director, Emma
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Oliver-Trend , Associate Conductor, Rocco Brunori , and guest conductor, Karin Hendrickson .
WHAT DID WE DELIVER?
• Produced accessible instrumental parts for young people of all experience levels. Our pieces included ‘Crossfade’ by Jack McNeill, ‘Allegro’, taken from Alice Mary Smith’s Symphony in A minor, ‘99 Red Balloons’ by Nena, ‘Merry-Go-Round of Life’ by Joe Hisaishi, and transitions composed by Modulo members.
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Individual welcome meetings with each school on the programme to explore their support
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needs and learn more about their young musicians.
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A virtual meeting to welcome Modulo teachers , share more about our chosen repertoire for
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the Meets and explain how best to deliver rehearsals before joining us in person.
• In-school workshops for 12 different schools . The workshops were planned around bespoke requests and included a range of topics: specific instrumental tuition, conducting techniques, ensemble skills, rhythm, collaborative composition and improvisation.
- We provided six instruments to young Modulo musicians – all thanks to generous donations.
WHAT HAPPENED DURING THE PROGRAMME?
In July 2022 and March 2023, our Modulo Meets were all held in person at inspiring arts venues, universities and conservatoires across the UK.
We provided seven days of memorable, inclusive and accessible music-making for young people, from County Durham to Kent!
Our partners included Cecil Sharp House, Midlands Arts Centre, The Royal Academy of Music, Royal Birmingham Conservatoire, Royal Northern College of Music and the University of York .
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WHAT DID WE LEARN?
• Young people and teachers love the in-person Meets, as do our team and tutors! Being part of a larger ensemble drives young people to commit to practice and rehearsals, and teachers are proud to be able to provide an aspirational activity for their students.
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on the
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Students’ wellbeing and social confidence is improved
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programme – firstly, through joining their ensemble, then further through their attendance at the Meets.
Young people said:
“The best part was after we went into different groups and learnt the pieces thoroughly, being able to then see all the different parts coming together at the end.”
“I really enjoyed working with my music group and getting to play the pieces as a section. I also really enjoyed playing as an orchestra because the music sounded amazing.”
Teachers said:
“The day was full of positive energy and it felt very inclusive. I was very impressed at how you managed to engage all the children, who had all come together and didn’t know each other, without having to resort to any ‘stern’ behaviour management. I feel so lucky we had the opportunity to be involved in this.”
“My student’s mum contacted me to express how much he enjoyed himself. It was ‘the best day of his life’.”
Parents said:
“As the first home educated group to do this programme, we felt welcomed and not excluded. The conductor was fantastic and kept that huge group engaged throughout. It was really nice to have the tutors involved during the main rehearsals giving extra support where needed.’
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KEY ACHIEVEMENTS
• Highlighting FUN (female, under-represented) repertoire and having our young people lead on this.
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Bringing young people into inspiring music venues
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and higher education institutions, showing them a potential future in music.
It has been a pleasure to work with conservatoires, universities and arts venues, bringing young people into an environment they have not had the opportunity to visit. This has had a huge impact on aspiration, with young people reporting a strong belief in their musical future and teachers reporting a greater interest in music qualifications and careers.
• Collaborating with freelancers
We have improved the training we offer our freelance staff to ensure they feel confident in safeguarding and an inclusive approach to leading sessions. We have worked hard to ensure a consistent team of tutors for Modulo Meets within each region.
This has proved successful when young people return for their second event as they are already familiar with the people they are working with. Likewise for tutors, it allows them to have a deeper knowledge of young people’s needs.
We have worked as a wider programmes team to offer opportunities that work across both programmes, rather than having separate tutor teams. This has allowed us to offer more work to individuals and has given our tutors a much better understanding of the organisation as a whole, upskilling them in “the OFA way” in a variety of settings.
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WHAT HAPPENED DURING THE PROGRAMME?
This was a successful year for the MLT programme as we returned to delivering our in-person sessions , alongside online content. While the impact of the COVID-19 pandemic was ongoing for many arts organisations, we are proud to share that we successfully hosted seven in-person events!
An important development has been the inclusion of young people in the planning and delivery of events. This included our first presentation being led solely by NOFA alumni, Joe Walsh and Kate Lynch , who were invited to present a session on ‘Meeting Young People where they’re at’, for the Harrison Parrott Symposium.
Our ongoing aim is to provide opportunities for as many young people as possible to be directly involved in conferences and training sessions. We are keen to welcome their diverse perspectives, helping us to drive forwards both our organisation and the sector in an authentically youth-led way.
WHAT IS MUSIC LEADERSHIP TRAINING?
*** 14 events delivered – in-person, online and conferences**
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.
We held six webinar sessions across the year, including two that were open to the public, and multiple training sessions for all tutors who worked with us on the NOFA and Modulo programmes, upskilling our freelance team and providing vital safeguarding training.
*** More than 300 music leaders joined us for live workshops and two free webinars**
We also attended several conferences held by other organisations across the sector, where we participated in multiple conversations with colleagues about our approach, inclusive practice and the future of the sector.
Through this programme, we provide:
• Free webinars focused on inclusive music-making , bringing in external experts as well as our Artistic Director and orchestral tutors to share their skills and experience more widely.
*** 7,000 young people indirectly benefited from MLT activity**
This included setting up a Music Mark stand at the Music and Drama Expo , where we met with other national youth music organisations (NYMOs) and discussed our programmes with delegates.
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10 online modules providing flexible, hands-on training on
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themes from conducting to arranging, rooted in inclusive practice.
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WHAT DID WE LEARN?
Alongside drawing upon the expertise of our wider team of orchestral and wellbeing staff, we are keen to implement the following learnings into as many future MLT events as possible:
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Youth leadership – at least one young person should be present at
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our MLT events and webinars.
Going forward, their roles might include hosting, participating as a presenter for part of the session, providing technical support, designing supporting resources, recording videos, contributing to discussions or even becoming a panel member for discussions.
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There is a distinct need for CPD (continuing professional
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development) on working with neurodiverse young people, including those with Autism, in classes, small groups and one-to-one lessons.
After reviewing our feedback forms, three from Lancashire mentioned this as a particular type of training they would like to see us arrange.
• A refreshed approach to Music Leadership Training – streamlining our offer to create a greater impact for teachers nationwide.
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As part of our charity’s five-year strategy, we are continuing to improve our marketing and communications both internally and across our digital channels, helping us share our vital work more widely, build stronger connections with our audience and act as a cataylst for greater change.
Sharing vox pops with young musicians online
Powerful guest blogs from Ambassadors and participants
Instagram takeovers led by alumni
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Virtual galleries of our live activity
Video interviews with industry experts
OFA joins the world of TikTok
Seasonal newsletters to our donors, funders and loyal supporters
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THE YEAR AHEAD Jul ‘23 - Jun ‘24
We are delighted to share plans for our year ahead, which include:
• The finale of our ‘Music and Change’ season: Complete with a spectactular spring of live performance at the Royal Birmingham Conservatoire in April 2024.
• Investing in our environmental responsibility: Updating and integrating our environmental policy and training across all areas of our work, providing a safe space for young people to talk about the climate crisis.
• Being youth led: Appoint an alumni of our programmes to co-chair the Board of Trustees, to join our team as Youth Leadership Coordinator and offer alumni Ambassadors at national conference a platform to share their stories, opinions and calls for action.
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Being data led: Invest time, capacity and resource into research, data and impact of our work, and ensure
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all key decisions are led by data.
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Continuing Orchestras for All’s transition as a new National Portfolio Organisation (NPO): Updating how
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we evaluate, collect data and connect with other national youth music organisations (NYMOs) across the UK.
• Relocating OFA’s headquarters: As part of the NPO Transfer programme, we will be relocating OFA’s headquarters outside of London in 2024 – watch this space!
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Strengthening the core team: Appointing a Head of Fundraising and Youth Leadership Coordinator to
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strengthen our team, enabling future sustainability and relevance of our work.
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The senior management team and the trustees monitor and evaluate key risks at least quarterly 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 |
|---|---|
| Growth of the charity has an impact on the quality of work being delivered and risk of burnout. |
We will continue to collaborate and track against OFA's Business Plan with clear objectives and resource allocation, ensuring adequate staffing levels, training and monitoring systems and are in place. |
| Third parties roll out of OFA's approach with limited success, impacting the brand's association with quality. |
A strategic partnership agreement will be in place to ensure that outcomes and values align, which will be regularly reviewed and learnings integrated. |
| A safeguarding incident takes place and/or is not effectively handled. |
We will conduct regular training sessions, enforce strict accountability measures, provide ongoing support and guidance, and conduct an annual audit and policy update to ensure adherence and understanding of our safeguarding process. |
| Orchestras for All may grow to a size that cannot be maintained by incoming revenue. |
We will continue to invest in strategic fundraising opportunities and donor care and maintaining careful budget monitoring and reforecasting with team and trustees. |
| Staff overstretch negotiating the ever-increasing ambitions of the charity. |
Senior management team and trustees regularly review staff capacity and systems, processes and infrastructure is built and maintained to support growth. We also create a culture in which staff wellbeing is regularly discussed and people feel safe to sharepressure. |
| OFA event staff may not have the requisite knowledge to support a broader range of needs of young people or staff within our programmes. |
We will process an annual skills audit of the team, Trustees, Youth Board and freelance team and we will upskill or recruit specialist skillsets required to support the increased needs of the young people and staff we work with. |
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LEGAL AND ADMINISTRATIVE INFORMATION
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.
Decision-making: examine and consider key decisions proposed by senior management, particularly around new strategic directions/partnerships. Sign off on new hires and changes to staff salaries.
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).
Senior management
-
Nick Thorne , Executive Director
-
Ellie Dunachie , Head of Programmes and Partnerships
Board of trustees
-
Susanna Eastburn MBE , Chair
-
Trustees: Jessica Boyd, Simon Page, Philip Whalley , Beth White, Joelle Sogunro
-
Newly-appointed trustees: Rachael Adediran (September 2022), Dominic Parker (December 2022), Lucinda Coulthard (December 2022), Chloe Morgan (December 2022), Philip Raperport (December 2022)
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 OFA business. According to the Constitution, as a Charitable Incorporated Organisation, Trustees have no personal liability.
Public benefit statement : the Board of Trustees have complied with their duty in section 17 of the Charities Act 2011 to have due regard to guidance published by the Charity Commission on the public benefit of the Charity.
- Trustees retired: Kate Danielson (September 2022)
Governing document : Constitution
Legal Status : Charitable Incorporated Organisation (CIO)
Board policy: In accordance with the Orchestras for All Board Policy (September 2020), there must be at least three and at most 13 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.
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Orchestras for All (1150438) Annual report – Year ended 30 June 2023
50
FINANCES AND RESERVES
During the current financial year, the Charity incurred a deficit of £53,265 (2021-2022: surplus of £41,046), decreasing total reserves at year end to £187,421 (2021-2022: £240,686). Of these reserves £162,421 (20212022: £227,906) were unrestricted as to use. A total of £7,039 (2021-2022: £52,329) of the total reserves was designated for programmes, leaving £155,382 (2020-2021: £175,577) as general funds.
To ensure that the programmes can be delivered as planned, in previous years the Trustees have designated £60,000 of unrestricted reserves to cover any shortfall, initially just on the National Orchestra for All programme, but then the Trustees extended the purposes of this fund to cover all three programme areas. Of this initial amount, £7,671 was utilised in previous periods, with another £45,290 utilised in the current period, leaving £7,039 at the end of the period.
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 £155,382, the equivalent of approximately three months of operating expenses which meets this requirement.
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 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.
Music Leadership Training,
----- Start of picture text -----
£46,676, 8% Total expenditure
£588,707
2022-23
----- End of picture text -----
----- Start of picture text -----
Modulo Programme,
£143,952, 24%
----- End of picture text -----
----- Start of picture text -----
National Orchestra for All
£379,532, 65%
Raising funds
£18,547, 3%
Income breakdown
Fundraising events
Participant fees,
£535,442
and investment,
£21,220, 4%
2022-23
£12,382, 2%
Grant income
Donations £317,078, 59%
£184,762, 35%
----- End of picture text -----
----- Start of picture text -----
Raising funds
£18,547, 3%
----- End of picture text -----
Orchestras for All (1150438) Annual report – Year ended 30 June 2023
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51
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 expenidture over income for that period. In preparing these financial statements, the Trustees are required to:
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 1 to 54 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 10th January 2024 and signed on its behalf by:
select suitable accounting policies and then apply them consistently.
make judgements and estimates that are reasonable and prudent.
state whether applicable UK Accounting Standards have been followed, subject to any material departures
disclosed and explained in the financial statements.
prepare the financial statements on the going concern basis unless it is inappropriate to presume that the Charity will continue its activities.
Susanna Eastburn Chair of Trustees
Date: 10th January 2024
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 2023
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54
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 2023 set out on pages 57 to 75.
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:
-
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
-
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.
Bianca Permal FCA
Haines Watts (Berkhamsted) Limited, 4 Claridge Court Lower Kings Road, Berkhamsted HP4 2AF Date: 19 February 2024
Orchestras for All (1150438) Annual report – Year ended 30 June 2023
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55
part of the f STATEMENT OF FINANCIAL ACTIVITIES
| Notes come from: Donations and legacies 3 Charitable activities 4 Investments tal income penditure on: Raising funds 5 & 6 Charitable activities National Orchestra for All 5 & 7 Modulo Programme 5 & 8 Music Leadership Training 5 & 9 Charitable activities tal expenditure et income/(expenditure) conciliation of funds Balance brought forward 14 & 15 Balance carried forward 14 & 15 |
Unrestricted Restricted Total Total Funds Funds Funds Funds 2023 2023 2023 2022 £ £ £ £ 300,015 213,721 513,736 422,459 21,220 - 21,220 16,627 486 - 486 20 |
|---|---|
| 321,721 213,721 535,442 439,106 |
|
| 16,458 2,089 18,547 23,997 245,595 133,937 379,532 227,391 98,735 45,217 143,952 107,079 26,418 20,258 46,676 39,593 |
|
| 370,748 199,412 570,160 374,063 |
|
| 387,206 201,501 588,707 398,060 |
|
| (65,485) 12,220 (53,265) 41,046 227,906 12,780 240,686 199,640 |
|
| 162,421 25,000 187,421 240,686 |
Income from:
Total income
Expenditure on:
Total expenditure
Net income/(expenditure)
Reconciliation of funds
----- Start of picture text -----
Total Total
Funds Funds
BALANCE SHEET 2023 2022
Notes £ £
Fixed assets
Tangible assets 11 1,577 2,535
Current assets
Debtors and prepayments 12 27,251 23,010
Cash at bank and in hand 321,593 315,873
348,844 338,883
Creditors
Amounts falling due withing one year 13 (163,000) (100,732)
Net current assets
185,844 238,151
Net assets
187,421 240,686
Funds of the charity
Restricted funds 14 & 15 25,000 12,780
Unrestricted funds
General funds 14 & 15 155,382 175,577
Designated funds 14 & 15 7,039 52,329
162,421 227,906
187,421 240,686
----- End of picture text -----
The notes on pages 60 to 75 form part of the financial statements.
The financial statements were approved and authorised for issue by the Board of Trustees on 10th January 2024 and signed on
their behalf by:
Susanna Eastburn Chair of Trustees
57
Orchestras for All (1150438) Annual report – Year ended 30 June 2023
58
STATEMENT OF CASHFLOW
Total Total Funds Funds 2023 2022 £ £
Cash flows from operating activities
| Cash fows from operating activities | ||||
|---|---|---|---|---|
| Net (expenditure)/income for period Adjustments for Depreciation charges Investment income (Increase)/decrease in accounts receivable (Increase)/decrease in prepayments (Increase)/decrease in accrued income Increase/(decrease) in accounts payables Increase/(decrease) in HMRC & pension payable Increase/(decrease) in accruals Increase/(decrease) in deferred income Increase/(decrease) in credit card Adjustments Net cash used in operating activities Cash fows from investing activities Investment income Purchase of fxed assets Net cash used in investing activities Net cash used in fnancing activities Change in cash and cash equivalents Cash and cash equivalents at the beginning of the period Cash and cash equivalents at the end of the period |
958 (486) (1,700) (1,721) (820) (3,890) 816 (1,546) 63,375 3,513 |
(53,265) 58,499 |
339 (20) (6,665) (5,841) 33,668 9,392 1,327 1,085 (23,103) (322) |
41,046 9,860 |
| 486 - |
20 (2,874) |
|||
| 5,234 486 - |
50,906 (2,854) - |
|||
| 5,720 315,873 |
48,052 267,821 |
|||
| 321,593 | 315,873 |
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 2023, 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 2023 and the results for the year ended on that date.
The accounts (financial statements) have been prepared to give a ‘true and fair’ view and have departed from the Charities (Accounts and Reports) Regulations 2008 only to the extent required to provide a ‘true and fair view’.
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 £.
Going concern
The 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 external economic environment has had no material impact on this assessment.
Legal status
Orchestras 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.
Orchestras for All (1150438) Annual report – Year ended 30 June 2023
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59
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.
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.
1. Accounting policies (continued from previous page)
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 judgements
In 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.
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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61
2. Comparative statement of financial activities
Income from:
Donations & legacies
Charitable activities
Investment income
Total income
Expenditure on:
Raising funds
Charitable activities
National Orchestra for All
Modulo Programme
Music Leadership Training
Charitable activities
Total expenditure
Net income/(expenditure)
Reconciliation of funds
Balance brought forward Balance carried forward
| Notes 3 4 5 & 6 5 & 6 5 & 7 5 & 8 14 & 15 14 & 15 |
Unrestricted Restricted Total Funds Funds Funds 2022 2022 2022 £ £ £ 100,242 322,217 422,459 16,627 20 - 16,627 - 20 |
|---|---|
| 116,889 322,217 439,106 |
|
| 20,083 3,914 23,997 11,267 216,124 227,391 30,252 76,827 107,079 14,441 25,152 39,593 |
|
| 55,960 318,103 374,063 |
|
| 76,043 322,017 398,060 |
|
| 40,846 200 41,046 187,060 12,580 199,640 |
|
| 227,906 12,780 240,686 |
3. Income from donations and legacies
| Grant income Donations Fundraising events Grant income Donations Fundraising events Service user contributions Service user contributions 3. Income from donations and legacies 4. Income fromcharitable activities |
Unrestricted Restricted Total Funds Funds Funds 2023 2023 2023 £ £ £ 128,357 188,721 317,078 159,762 25,000 184,762 11,896 - 11,896 |
| 300,015 213,721 513,736 |
|
| Unrestricted Restricted Total Funds Funds Funds 2022 2022 2022 £ £ £ 48,500 322,217 370,717 48,788 2,954 - 48,788 - 2,954 |
|
| 100,242 322,217 422,459 |
|
| Unrestricted Restricted Total Funds Funds Funds 2023 2023 2023 £ £ £ 21,220 - 21,220 |
|
| 21,220 - 21,220 |
|
| Unrestricted Restricted Total Funds Funds Funds 2022 2022 2022 £ £ £ 16,627 - 16,627 |
|
| 16,627 - 16,627 |
63
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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 2023 2023 2023 2023 2023 £ £ £ £ £ 13,115 2,126 1,338 1,968 18,547 101,018 210,860 27,379 40,275 379,532 58,616 59,675 10,385 15,276 143,952 34,008 4,348 3,367 4,953 46,676 |
|---|---|
| 206,757 277,009 42,469 62,472 588,707 |
|
| 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 |
5. Total expenditure (continued from previous page)
| Ofce and administration Marketing and publicity Finance Governance Independent examination Production of annual accounts Trustee meeting expenses Trustee recruitment direct costs include: vernance costs include: |
Total Total Funds Funds 2023 2022 £ £ 49,484 27,099 2,986 1,608 6,604 6,304 3,398 2,410 |
|---|---|
| 62,472 37,421 |
|
| Total Total Funds Funds 2023 2022 £ £ 1,680 945 1,464 900 52 323 202 242 |
|
| 3,398 2,410 |
Indirect costs include:
Governance costs include:
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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65
6. Expenditure on raising funds
Direct staff costs Direct other costs Indirect costs
Direct staff costs Direct other costs Indirect costs
| Unrestricted | Restricted | Total | |
|---|---|---|---|
| Funds | Funds | Funds | |
| 2023 | 2023 | 2023 | |
| £ | £ | £ | |
| 13,115 | - | 13,115 | |
| 2,126 | - | 2,126 | |
| 1,217 | 2,089 | 3,306 | |
| 16,458 | 2,089 | 18,547 | |
| 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 |
7. Expenditure on National Orchestra for All
| Unrestricted | Restricted | Total | ||
|---|---|---|---|---|
| Funds | Funds | Funds | ||
| 2023 | 2023 | 2023 | ||
| £ | £ | £ | ||
| Direct staf costs | 54,651 | 46,367 | 101,018 | |
| Direct other costs | 166,046 | 44,814 | 210,860 | |
| Indirect costs | 24,898 | 42,756 | 67,654 | |
| 245,595 | 133,937 | 379,532 | ||
| Unrestricted | Restricted | Total | ||
| Funds | Funds | Funds | ||
| 2022 | 2022 | 2022 | ||
| £ | £ | £ | ||
| Direct staf costs | - | 80,085 | 80,085 | |
| Direct other costs | 2,839 | 98,945 | 101,784 | |
| Indirect costs | 8,428 | 37,094 | 45,522 | |
| 11,267 | 216,124 | 227,391 |
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8. Expenditure on Modulo Programme
Direct staff costs Direct other costs Indirect costs
Direct staff costs Direct other costs Indirect costs
| Unrestricted | Restricted | Total | |
|---|---|---|---|
| Funds | Funds | Funds | |
| 2023 | 2023 | 2023 | |
| £ | £ | £ | |
| 37,616 | 21,000 | 58,616 | |
| 51,675 | 8,000 | 59,675 | |
| 9,444 | 16,217 | 25,661 | |
| 98,735 | 45,217 | 143,952 | |
| 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 |
9. Expenditure on Music Leadership Training
| Direct staf costs Direct other costs Indirect costs Direct staf costs Direct other costs Indirect costs |
Unrestricted Restricted Total Funds Funds Funds 2023 2023 2023 £ £ £ 23,019 10,989 34,008 337 4,011 4,348 3,062 5,258 8,320 |
|---|---|
| 26,418 20,258 46,676 |
|
| 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 |
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10. Staff costs
| . Staf costs | |
|---|---|
| Gross salaries Employer’s NIC Employer’s pension e averae headcount durin the eriod was nine ersons (2022: eiht ersons) |
Total Total Funds Funds 2023 2022 £ £ 223,952 194,580 18,393 13,646 6,881 5,828 |
| 249,226 214,054 |
The average headcount during the period was nine persons (2022: eight persons).
No employee received employee benefits of more than £60,000 (2022: NIL).
The total employee benefits paid to key management personnel during the year was £66,498 (2022: £61,587). 11. Tangible f ixed assets
| Cost As at 1 July 2022 As at 30 June 2023 Accumulated depreciation As at 1 July 2022 Charge in year As at 30 June 2023 Net book value As at 1 July 2022 As at 30 June 2023 |
Computer equipment Total £ £ 2,874 2,874 |
|---|---|
| 2,874 2,874 |
|
| 339 339 958 958 |
|
| 1,297 1,297 |
|
| 2,535 2,535 |
|
| 1,577 1,577 |
12. Debtors and prepayments
13. Creditors: amounts falling due within one year Deferred revenue consists of: Accounts receivable Prepayments Accrued income Accounts payable HMRC control account Pensions control account Accruals Deferred grant income Credit card As at 1 July 2022 Released in year Deferred in year |
Total Total Funds Funds 2023 2022 £ £ 9,515 7,815 16,584 14,863 1,152 332 27,251 23,010 Total Total Funds Funds 2023 2022 £ £ 8,597 12,487 5,058 4,353 1,182 1,071 6,055 7,601 138,178 74,803 3,930 417 |
|---|---|
| 163,000 100,732 |
|
| Total Total Funds Funds 2023 2022 £ £ 74,803 97,906 (74,803) (97,906) 138,178 74,803 138,178 74,803 |
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14. Analysis of charity funds
| 4. Analysis of charity funds | |
|---|---|
| Unrestricted funds General funds Designated funds Programme reserve Restricted funds National Orchestra for All Modulo Programme Music Leadership Training Youth Leadership Permanent salaries Communications |
Balance Income Expenditure Transfers Balance brought in the in the between carried forward year year funds forward 2023 2023 2023 2023 2023 £ £ £ £ £ 175,577 321,721 (341,916) - 155,382 52,329 - (45,290) - 7,039 |
| 227,906 321,721 (387,206) - 162,421 |
|
| 3,200 102,981 (106,181) - - - 38,000 (38,000) - - - 15,000 (15,000) - - - 25,000 - - 25,000 - 9,661 (9,661) - - 9,580 23,079 (32,659) - - |
|
| 12,780 213,721 (201,501) - 25,000 |
|
| 240,686 535,442 (588,707) - 187,421 |
Restricted funds
National Orchestra for All: These are funds received to support the National Orchestra for All programme and were received from a variety of funders, including an anonymous European foundation.
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.
Youth Leadership: These are funds received to support the new Youth Leadership Co-ordinator role.
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 Manager, 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 Access to Work Communications |
Balance Income Expenditure Transfers Balance brought in the in the between carried forward year year funds forward 2022 2022 2022 2022 2022 £ £ £ £ £ 134,731 116,889 (76,043) - 175,577 52,329 - - - 52,329 |
|---|---|
| 187,060 116,889 (76,043) - 227,906 |
|
| 3,000 196,612 (196,412) - 50,000 (50,000) - 5,000 (5,000) - 5,000 (5,000) - 30,000 (30,000) - 1,822 (1,822) 9,580 33,783 (33,783) - 3,200 - - - - - - - - - - 9,580 - |
|
| 12,580 322,217 (322,017) - 12,780 |
|
| 199,640 439,106 (398,060) - 240,686 |
Orchestras for All (1150438) Annual report – Year ended 30 June 2023
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15. Analysis of net assets
| General Designated Funds Funds 2023 2023 £ £ 1,577 - 254,337 7,039 (100,532) - |
Restricted Total Funds Funds 2023 2023 £ £ - 1,577 87,468 348,844 (62,468) (163,000) 25,000 187,421 Restricted Total Funds Funds 2022 2022 £ £ - 2,535 75,248 338,883 (62,468) (100,732) |
|---|---|
| 155,382 7,039 |
|
| General Designated Funds Funds 2022 2022 £ £ 2,535 - 211,306 52,329 (38,264) - 175,577 52,329 |
|
| 12,780 240,686 |
|
| Total Total Funds Funds 2023 2022 £ £ 2,500 2,500 |
|
| 2,500 2,500 |
Fixed assets
Current assets
Current liabilities
Fixed assets
Current assets Current liabilities
16. Other financial commitments
On 30 June 2023, the Charity had annual future minimum lease payments under a non-cancellable operating lease for the office premises as set out below:
Due within one year
17. Other financial commitments
During the year, no Trustee received any remuneration (2022: £NIL). No members of the Board of Trustees received reimbursement of travel expenses (2022: No members received expenses totalling £NIL).
18. Related party transactions
During the year, the total amount given as unrestricted donations by the Trustees was £1,476 (2022: £2,166).
19. Guarantees and secured charges
As of 30 June 2023, the Charity did not have any outstanding guarantees to third parties nor any debts secured against assets of the Charity (2022: £NIL).
THANK YOU!
On behalf of the Team, Board and young musicians at Orchestras for All, we would like to thank everyone who has given their support to our work over the past year.
Orchestras for All is entirely reliant on fundraised income. The generous contributions of public funders, trusts, foundations, individual donors, corporates, partners and community groups enable our vital work to continue, so that all young people can benefit from ensemble music-making.
To all of you, thank you for coming on this journey with us.
Thank you to our funders and donors:
29th May 1961 Charitable Trust, Arts Council England, Association of British Orchestras Sirens Fund, Austin & Hope Pilkington Charitable Trust, Centre for Innovation in Voluntary Action, Clore Duffield Foundation, D’Oyly Carte Charitable Trust, Department for Education, Finzi Trust, Foyle Foundation, Garfield Weston Foundation, Harold Hyam Wingate Foundation, Hakluyt, Harriet’s Trust, Headley Trust, Ingles & Hayday, The Lucille Graham Trust, The Michael Tippett Musical Foundation, Rachel Baker Memorial Charity, Radcliffe Trust, Rayne Foundation, The Samuel Gardner Memorial Trust, Scops Arts Trust, Swire 2765, Three Monkies Trust, University of Warwick.
Thank you to our partners:
Covington & Burling LLP, Royal Academy of Music, Cecil Sharp House, MAC Birmingham, Royal Birmingham Conservatoire, Royal Northern College of Music, Sandwell Music Hub, SKY Music Hub, Sound Connections, University of York.
Orchestras for All (1150438) Annual report – Year ended 30 June 2022
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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)