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# **Annual Report – July 2023 June 2024**
orchestrasforall.org @national-orchestra-for-all @orchestrasforall @Orchestras4All
Annual Report
Year Ended 30 June 2024
## **Welcome from our Co-Chairs**
Over the past year, Orchestras for All has made great strides in **making music accessible to everyone.** We’ve stayed true to our mission of inclusive music-making, with a strong focus on **empowering young people** to take a key role in shaping the future of music. Through our programmes, we’ve created space for young people from all backgrounds to get involved, using music as a way to foster leadership and personal growth.
A major highlight has been the introduction of a new Co-Chair structure on the Trustee Board. This progressive change saw Beth, a young Trustee, join Susanna as Co-Chair, marking a big step towards youth-inclusive leadership. Together, we worked side by side, discovering new ways to lead that are rooted in **inclusivity, shared responsibility** and **collaboration** . In September 2024, Joelle Sogunro took over as Co-Chair.
**10** Ambassadors and **15 young people** for our second Youth Board, Orchestras for All is setting an example in the music sector and showing how charities can create spaces where young leaders can really thrive. We’re committed to rethinking what leadership looks like in the arts, paving the way for a **more diverse, youth-driven future** in the music community.
## **Susanna Eastburn MBE**
## **Beth White**
## **Joelle Sogunro**
By actively involving young voices in decisionmaking, which has included the appointment of
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Orchestras for All
Year Ended 30 June 2024
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Orchestras for All What We Do
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## **What we do**
Orchestras for All has a vision: where any young person aged 11-19 can access the benefits of group music-making in the UK.
## To achieve this vision, we:
• **Empower** all young people to access high-quality ensemble music-making, inspiring audiences and the wider sector
• **Energise** and upskill music educators to lead change in their local communities
• **Engage** partners to roll out our approach in a way that supports their needs and regional network from underrepresented backgrounds, which in turn helps us to improve access to music participation for thousands of young people in local communities across the UK each year.
**“It was fun! I’ve met lots of new people that I’m now friends with. I’ve improved a lot musically too.”** — NOFA musician
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Orchestras for All
Year Ended 30 June 2024
Annual Report
Our Programmes
## **Our programmes**
Orchestras for All has developed three innovative programmes to improve access to group music-making for young people nationwide:
## **National Orchestra for All (NOFA)**
**The most diverse, inclusive, accessible national youth orchestra in the UK** , comprising around 100 young musicians from across the country of mixed ability who face daily barriers to musicmaking. NOFA members come together to learn, create, rehearse and perform orchestral music throughout the year and are welcome to play all instruments, including those not typically found in a traditional orchestra. During our 2023-24 season, we continued our blended offering of online and in-person activity, running an exciting series of residentials at leading arts venues that were complemented by a focus on wellbeing and welfare.
## Read more: page 20
View the website
## **Modulo Programme**
**Modulo supports music teachers and ensemble leaders to kickstart a vibrant culture of inclusive music-making** in state secondary schools, home schools and local community groups nationwide. Young people aged 11-18 can take part regardless of their experience, skill level or chosen instrument. Like NOFA, Modulo ensembles don’t just include traditional orchestral instruments; we welcome guitars, ukuleles, saxophones, melodicas and tabla, among others. Modulo also provides leaders with flexible, accessible arrangements and 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. From York to Manchester, we welcomed hundreds of students to the programme in 2023-24.
## **Music Leadership Training (MLT)**
Our continuing professional development programme (CPD), MLT, improves access to music education by equipping music teachers and community music leaders with with the vital tools, strategies, leadership skills and practical conducting techniques they need to start or develop an inclusive instrumental ensemble in their school or local community, through in-person support and a series of virtual learning modules. MLT was developed in partnership with experienced music educators, expert nimateurs and leading conductors. In 2023-24, we engaged 16 music leaders through our live webinars. MLT supports grassroots music education, builds confidence in aspiring leaders and promotes diversity by providing opportunities for individuals.
Read more: page 30
View the website
Read more: page 26
View the website
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Orchestras for All
2023-24 Highlights
**“Playing Symphony No. 1 was good because it was written by a female composer and it’s nice for more women to get that kind of recognition.”** — Young Modulo participant
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Orchestras for All
Strengthening the Charity
Year Ended 30 June 2024
Annual Report
## **Strengthening the charity**
## **Sector-leading inclusive practice**
We are deeply committed to strengthening our charity through the principles of Inclusion **, Diversity, Equity, and Accessibility (IDEA)** . Alongside our commitment to removing barriers to music-making, we provided **tailored support** to young participants according to their individual needs and ability and always have a **personcentred approach** to everything that we do.
We offered one-to-one tutoring, welcomed new instruments not typically found in a traditional orchestra and encouraged young people to express their views in both verbal and written form during rehearsals. We also
covered travel expenses to our live events to ensure all participants could attend, **free membership** to NOFA members and **offered** implemented anonymous recruitment processes to reduce unconscious bias.
In response to the increasing mental health challenges faced across the UK,we have also wellbeing **of our significantly enhanced the team and young people.** We addressed this by setting up a dedicated wellbeing space during live activity and expanding support for our management team through the implementation of an employee assistance programme. We also conducted a comprehensive review of our policies and procedures, collaborating with students from the University of Sussex to ensure that our approach remained informed and effective.
## **Artistic approach**
During live activity for our programmes, we provided regular opportunities for young musicians to **explore** their creative potential, **collaborate** as **share** their unique thoughts and voices. across their differences as well This was achieved by making our approach increasingly **youth led** , such as piloting more group composition models, while also exploring different non-western musical traditions and using **alternative methods to traditional musical notation** , such as visual scores, learning by ear and improvisation. We also encouraged self-expression, collaboration and inclusive practice during sectional rehearsals by requesting that orchestral tutors **sit in a circle** with young people, rather than adopting the well-known classroom format of teachers standing in front of rows of students in a room.
## **Youth leadership**
We are constantly seeking new ways to involve our **alums** , ensuring that we are truly led by the young people we exist to support. This year **Youth Leadership** we welcomed our first ever **Coordinato** r, Elen Derrett, who formed a crucial member of our core management team, connecting internal operations with young people at every level of our charity. We also recruited 1 **5** Youth Board members who supported artistic and programming strategy, along with **10 inspiring** Ambassadors who undertook vital advocacy as well as offering programme support through our social media channels at events and conferences. Additionally, we reinstated our **Arts Award Programme** to offer young people practical creative qualifications and develop leadership skills. Regular attendance at **conferences** across the arts and education sectors, with alums and ambassadors advocating for our charity through presentations and participating in panel discussions.
## **Sheffield relocation**
We were delighted to announce the relocation of our London headquarters to Shefeld, marking an exciting new chapter for the charity. Following years of music-making activity at Camden arts venue, Cecil Sharp House – home to the English Folk Dance and Song Society – OFA’s new headquarters will be based at striking Grade II* listed building, Canada House. Though Canada House is currently unoccupied, Harmony Works, which promotes inspirational music education and works to enrich the lives of young people, is carefully restoring and revitalising the building to create a thriving new music hub in the heart of Sheffield City Centre.
Sheffield is one of the largest cities in the country, behind London, Birmingham and Manchester, making it the perfect setting for OFA to widen its impact and further develop its three powerful programmes: National Orchestra for All (NOFA), Modulo and Music Leadership Training(MLT). Positioning the charity in a vibrant and accessible cultural hub, in a central location with strong transport links, will make our lifechanging programmes more accessible to young people across the UK, particularly in underserved regions. The city’s rich musical heritage and supportive arts community provide exciting opportunities for collaboration and growth, enabling us to reach more diverse audiences and strengthen our partnerships.
## **“My social skills and confidence have increased.”**
## **“I was able to be myself instead of trying to fit in.”**
— NOFA members
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**“I can’t thank NOFA enough for the change they have brought out in [NOFA member]. Her personal and social development have come on leaps and bounds, and she is starting to return to the bubbly kid she once was. Her interest in music has broadened and she is now looking at instruments that I never even knew existed.”**
— NOFA parent
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Artistic Developemnt
## **Alternative notation**
## **Artistic development**
During our Modulo Programme, we created an **alternative form of notation** to classical notation **Co-creating ‘Sounds of Change’** known as **‘music maps’** that **improved access** Using a group composing model, our ‘Sounds to students from special schools, making Modulo of Change’ piece was **created and performed by** more inclusive to a wider diversity of schools, **NOFA** , inspired by Gamelan music and featured ~~—~~ and further developing our own inclusive spoken word poems written by NOFA members practice. Music maps provided rhythmic lines around the theme of change. Led by composer of three motifs, while pitched lines were colour **Emily Crossland** , the project empowered young coded. The works were then conducted using musicians to collaborate creatively, using a hand signals, so that the parts could be cued in single tone row from their Gamelan workshops rehearsal and players could remain well to develop responses that were later structured connected to the ensemble. **supportive** into the final piece. This fostered a **environment for creativity** , allowing young Music leadership: our values in practice. Our musicians to take the lead in composing, tutor teams have been exploring a variety of making structural decisions and directing music leadership rehearsal activities to help the performance. **promote youth ownership** , **inclusivity** and
Music leadership: our values in practice. Our tutor teams have been exploring a variety of music leadership rehearsal activities to help **promote youth ownership** , **inclusivity** and **collaboration** . Rehearsals have included increasingly more opportunities for independent practice, paired work and peer support as well as tutor-led activities. As ever, we have been sharing OFA’s approach, so that the team grow in the range, depth and inclusivity of our music leadership practice.
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## **“It’s good at NOFA because there are a lot of video game music composers who are inspired by orchestral music, but you never usually hear their music being played.”**
— Christian, euphonium player at NOFA
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Orchestras for All Wellbeing and Safeguard
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## **Wellbeing and safeguarding**
At Orchestras for All, we recognise the growing needs of our young people and are c **ommitted to enhancing our** wellbeing and safeguarding practices. In response to these needs, we have implemented a comprehensive approach that ensures our participants feel safe, supported and empowered to engage fully in our programmes. This commitment not only fosters a positive environment for our young musicians but also models an **ambitious inclusive culture** for the sector. As a result, we are increasingly sought after by other organisations for advice and guidance on wellbeing practices.
In October 2023, **we updated our** safeguarding policies, emphasising the importance of clear ~~ee~~ procedures and delivered enhanced training for our staff. We have also invested in expanding our wellbeing team, increasing capacity and training to better support our young people, including those with Special Educational Needs and Disabilities (SEND) in our Modulo programme.
**ntegrate** We have taken significant steps to i **wellbeing and safeguarding more holistically within our organisation** . Sasha Mattock has stepped into the role of Deputy Designated Safeguarding Lead, alongside Harriet Dyke, who joined this year, enhancing our safeguarding capacity and skills. We are proud to acknowledge the legacy of Elli Chapman, our Wellbeing Lead from 2021-2022, who sadly passed away in August 2023. Elli introduced new approaches to wellbeing support, infusing positivity and energy into every aspect of our work.
To further strengthen our wellbeing culture, we have **invested in mental health first aid training** for every member of the management team, empowering us to support one another and our programme participants effectively.Our ongoing commitment to wellbeing not only enhances the experiences of our young people but also creates a supportive atmosphere for our entire team, reinforcing our dedication to fostering an **inclusive** and **caring** community.
**“NOFA is the best thing that ever happened to my daughter – she is always excited to go and never wants to return she has made loads of new friends and has improved with her music.”** — NOFA parent
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## **Highlights**
## **Music performed**
- We worked with 104 young people across the year, delivering 11 days of activity including two four-day residential courses in Birmingham, three one-day regional events in London, York and Glasgow as well as an online course.
Chosen in collaboration with our Artistic Director, Youth Board and NOFA, repertoire included ‘Hornet’ and ‘Reflection’ from Christopher Larkin’s Hollow Knight video game soundtrack, ‘Ghost ‘ ’ Town’ by The Specials, Strength in Numbers , written by NOFA members and Joe Broughton, ‘ ’ the first movement of Florence Price’s Symphony No. 1 in E minor, Allegro ma non troppo , and ‘Sounds of Change’, written by NOFA and Emily Crossland.
- In 2023, 93 young people attended the summer residential.
- In 2023, 73 young people attended the Crossland. autumn regionals (23 in Glasgow; 27 in London, 23 in York). Stats for 104 members we worked with:
- • In 2024, 78 young people attended • Experience at least 1 barrier to music-making the spring residential. opportunities: 100% • Living in an Income Deprivation Affecting
- **Relaxed performances** Children Index area (Levels 1-4): 62% Summer 2023 (Royal Birmingham • Global majority background (people Conservatoire), autumn 2023 regionals in of Indigenous, African, Asian or Latin Glasgow, London and York, and spring 2024 American descent): 44% (Royal Birmingham Conservatoire) • Eligible for free school meals: 35% • Neurodivergent: 22%
- ALL
- {NOFA} ~~I~~ • Mental health condition: 19% Mental health condition: 19% • Levelling Up for Culture and/or Priority Places: Levelling Up for Culture and/or Priority Places: 19% (places identified by Arts Council England
- **“It provides a one-time** 19% (places identified by Arts Council England as needing cultural investment)
- **opportunity to meet** • Deaf, disabled or long-term health
- **people you’ve never** condition: 13%
- **seen or heard of before.** • Non-binary or transgender: 9%
- **It allows you to make** • Displaced person (refugee/asylum seeker): 4% Displaced person (refugee/asylum seeker): 4%
- **better connections all** • In care: 4%
- **around the UK.”**
- Mental health condition: 19% Mental health condition: 19% • Levelling Up for Culture and/or Priority Places: Levelling Up for Culture and/or Priority Places: 19% (places identified by Arts Council England as needing cultural investment)
- Displaced person (refugee/asylum seeker): 4% Displaced person (refugee/asylum seeker): 4%
- Young carer: 4%
- NOFA cellist, Santiago
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NOFA
## **Inclusivity**
We supported members with complex needs and arranged Braille music.
## **Environmental**
We promoted group travel, reduced single-use plastics, limited paper waste and engaged NOFA members, alums, our team and Trustees in our first Green Committee – focusing on making environmentally sustainable choices as a charity.
## **Support**
Hundreds of one-to-one calls between Head of Wellbeing and NOFA members to support their engagement in the programme and find out in their own words what success looks like to them, what support they need as well as what they can do to support themselves.
We invited NOFA members to reflect on their time in the orchestra. They responded positively to the following statements:
- I have more friends because I have been part of NOFA (94%)
- Being part of NOFA has helped me to improve my playing (84%)
- Being part of this NOFA season has improved the way I communicate with others (81%)
- The support at NOFA meant that I could be part of an orchestra (80%)
- I am happier because I have been part of NOFA (78%)
- Being a part of this NOFA season has improved the way I play music with others (78%)
- I did something I never thought I could do while at NOFA (63%)
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## **What does NOFA’s ‘Sounds of Change’ season theme mean to you?**
**NOFA ambassador, Atse:** “I think it brings another layer of organisation to performing and making music. Before lockdown, we’d be given a set of music – some of it we would have played before, some of it new, but it wouldn’t have been as cohesive as it is now. Even though each piece we play is different, it makes sense to have it within the theme of change – change in theme, change in genre, even the way the world is changing. NOFA is definitely changing, Orchestras for All is changing, the people are changing. It just made sense for us to have the theme, ‘Sounds of Change’.”
**NOFA violinist, Miecha:** “For me, ‘Sounds of Change’ is all about how music has developed and evolved. The pieces we’re playing in NOFA aren’t just classical pieces, like from Beethoven or Mozart. There’s a change in the style of music and we’ve been doing different things, like reading music visually, remembering the music and creating our own.
“At NOFA, I’ve seen how we’ve changed the way we’ve done music over the years. When I first started, we played more classical pieces, like ‘Swan Lake’, but now it’s changed. We try new things, hear other people’s views and form something new as a collective. We improvise and listen by ear, which are two skills that not everyone can do but it’s something you can learn. I also like the piece we created, ‘Sounds of Change’, because it shows all the different instruments and the different things they can do.”
## **Since joining NOFA, how have you changed?**
**Atse:** “I feel like developing musically and developing as a person go hand in hand because the things you learn through music help you as a person – like discipline or maybe waiting your turn when the brass section have to practice a
piece, or the discipline of counting your 27-bar rest. Being patient or learning how to interact with different types of people is something that comes to mind because NOFA has everyone. Even though NOFA is made up of 100 people, there’s everyone in that 100 people. And same with the staff as well. People are from everywhere, or they might have disabilities. It helps you adapt to different situations.”
## **What change would you like to see in the world?**
**Miecha:** “I’d like to see more of this –
more residentials and musical opportunities for young people and their instruments. I’ve been able to experience playing in an orchestra and go to different places but in future, some people – like, even my little sister – might not be able to say that she’s experienced that. I feel that with new technology and how much it’s evolved, people are on their phones more now, or they might not think that playing an instrument is cool.
“I’d like to see more opportunities for young people to play because it’s such a great skill to have and share with others. NOFA has been and will always be the highlight of my life. It helped shape me into who I am today and reminded me how much music means to me.”
**“I felt more confident and not intimidated around other musicians after a while, since I am quite shy meeting new people.”**
— NOFA musician
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## **Highlights**
- We were joined by **28 schools and community groups in summer 2023** and 2 **5 in spring 2024** for our Modulo Meets.
- We held **individual welcome meetings** with each school participating in the programme to explore their support needs and learn more about their young musicians, along with a virtual meeting welcoming all Modulo leaders to the programme, giving them the opportunity to connect with each other, share more about our chosen repertoire for the Meets and explain how best to deliver rehearsals before they joined us in person.
- **18 schools/groups** were based in Arts Council England’s Levelling up for Culture locations and/ or Priority Places.
- We worked with **287 young people** nationwide through the summer 2023 Meets and **252 young people** in the spring 2024 Meets.
- In our 2024 cohort, **19 new ensembles** were established through participation in Modulo.
- We held **in-school workshops for 20 schools** . Facilitated by our Artistic Director, Head of Wellbeing, Associate Conductor and orchestral tutors, the workshops were planned around bespoke requests and included a wide range of topics, including specific instrumental tuition, conducting techniques, ensemble skills, rhythm, collaborative composition and improvisation.
- In July 2023 and February to March 2024, we held **memorable, inclusive and accessible music-making** days for young people nationwide.
- Our eight Modulo Meets were all held in person at inspiring arts venues, including Cecil Sharp House and Royal Academy of Music in London, Royal Birmingham Conservatoire and Midlands Arts Centre in Birmingham, Royal Northern College of Music in Manchester and University of York.
- We worked with the first Special Education Needs and Disability (SEND) school to take part in the Modulo Programme.
**“It has given them real life experience of playing in a big ensemble and the skills that involves. Today in a choir rehearsal, a pupil involved in Modulo spoke about leaving silence at the end and feeling the ‘magic in the air’ – something she learned from Modulo conductor, Rocco. It is hard to tell before we have a rehearsal, but it seems as though some of the lessons they were taught have stayed with them.”**
- Modulo leader
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- We **produced accessible instrumental parts** for young people of all experience levels as well as visual scores for the first time to make our resources more inclusive.
- Our Modulo pieces included **‘Hornet’** , featured in Christopher Larkin’s original soundtrack for popular video game, **Hollow Knight** , ‘ **Allegro ma non troppo** ’ – the first movement of
- Florence Price’s Symphony No. 1 in E minor, and ‘I Wish’ by Stevie Wonder.
- We launched our **Modulo Leaders’ Hub** – a new online space where Modulo leaders could receive all the information and resources they needed in a more accessible way.
- We worked with a total of **16 music students** across our higher education venues, including Royal Academy of Music, Royal Birmingham Conservatoire, University of York and Royal Northern College of Music. They assisted our professional tutors to support young people.
- We welcomed **two Royal Birmingham Conservatoire students and a PGCEi** student, who were brilliant in supporting the young musicians in their paid Student Orchestral Tutor roles. They were guided by our Artistic Director and orchestral tutors.
- Two of our Modulo orchestral tutors were **National Orchestra for All alums** .
- Summer performances in Royal Academy of Music, Royal Birmingham Conservatoire and Royal Northern College of Music for parents/ guardians and partners.
**“Modulo has given students a goal of something to work towards and really engaged their love for music. Students are all really keen to ensure we keep this going which is what I hoped from starting this programme!”**
— Modulo leader
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## **Highlights**
- In-house training was provided to all orchestral and wellbeing staff supporting us at NOFA in July 2023, along with an in-person training day held at Royal Birmingham Conservatoire in February 2024.
- We hosted an MLT webinar in November 2023: ‘Inclusive Arranging for Mixed Ensembles’, led by OFA Orchestral Tutor and arranger, James Brady.
- Our alums and young trustees shared our approach to youth leadership at sector conferences, including Association of British Orchestras’ Conference and the Music and Drama Education Expo, encouraging the sector to embed young people in their governance, strategy and delivery.
- • In February, our Associate Conductor, Rocco Brunori, also led asession for Wolverhampton Music Hub staff, using Music Leadership Training Modulo resources. This could lead to longer-term ~~BS~~ hub partnership.
## **James’ webinar**
“It was really good to see how James broke down his approach to arranging in manageable and easy-tofollow chunks.”
- Music Leadership Training Participant
“That was really helpful and engaging... Excellent interactivity. Thank you.”
- Music Leadership Training Participant
## **Training day**
“The training day was very good - great to be able to meet with the house group team in advance and review the YP in our group, with the opportunity to ask questions and clarify needs of individuals.” — Wellbeing Tutor
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# Annual Report Year Ended 30 June 2024 **Communications and fundraising**
Over the past year, we have taken significant strides in enhancing Orchestras for All’s external
Through investing in team development, leveraging digital platforms, refining our brand messaging, PR activity, developing our visual identity and fostering deeper emotional connections with our participants and supporters, we have **broadened OFA’s reach and impact** .
communications, **driving greater engagement** with and awareness of our charity’s pioneering work.
To continue to empower, energise and engage our audiences, we have based our activity around three key strands: sustaining our programmes, driving fundraising and building our community.
This chapter marks yet another transformative period for OFA, where focused efforts in storytelling, outreach and creativity have not only but also strengthened **amplified our visibility** and **energised our inclusive community.**
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Communictions and Funding
Year Ended 30 June 2024
Annual Report
## **1. Sustaining our programmes**
In June 2024, we launched our #NotJustANote social media campaign to help drive recruitment for National Orchestra for All and spread the positive messages of NOFA, featuring personal stories from 14 enthusiastic members as well as Ambassadors (NOFA alums) to show that NOFA is about so much more than just music. As part of this, we invested in digital, utilising creative tools to streamline idea development and enhance efficiency. Reach for our UK-wide campaign was extensive, generating a high level of engagement across our social media channels and thousands of video views. The OFA team also received a total of 127 applications from young people to join the programme, with 58 of these from returning NOFA members.
## **2. Driving fundraising**
In March 2024, we launched our Big Give Arts for Impact campaign, aiming to raise £10,000 for Orchestras for All. With support from 61 donors, we surpassed the target, raising £13,432.50 – 134% of our goal.
We achieved this through sharing a series of blogs, emails to subscribers and of social media posts featuring personal messages from NOFA Ambassadors, encouraging people to donate.
This year, we saw a 48% growth in income from the previous year, which we couldn’t have achieved without support from Arts Council England and our generous community. Thank you!
## **3. Building our community**
**Award recognition:** Orchestras for All took home the Bronze Award in the Smiley Charity Film Awards 2024. We were also shortlisted for Impact at the Music and Drama Education Awards 2024.
We boosted brand **Growing our profile:** awareness by revamping our social media presence and sharing a series of blogs, email newsletters and press releases to keep followers and media outlets informed about our key milestones and upcoming events, with national media often sharing online features to support us. These efforts not only amplified our message but also attracted new supporters and partnerships (see full list on page 80), further elevating OFA’s visibility and influence in the music education sector. Also contributing to this achievement, Executive Director, Nick Thorne, and Youth Leadership Coordinator, Elen Derrett, were both elected as National Youth Music Organisation representatives for Music Mark, the UK’s Association for Music Education.
Additionally, our Operations Manager, Helen Cordina, was appointed to Music Mark’s **Climate Crisis Steering Group** , further enhancing our presence and commitment to sustainability in the arts.
**Ambassador development:** Many of our Ambassadors played a crucial role in assisting us during OFA’s live events, shadowing the communications team, showcasing their growing creative skills through photography and entertaining our social media followers with engaging Instagram takeovers. They also assisted the team with fundraising activities.
**“NOFA is a second home for me – a second family, a safe space. I can’t recall any moment here that I haven’t enjoyed. I feel respected and heard – and it’s here that I’ve made some of my closest friends. I’m so proud to be part of this organisation.”** — Noah, NOFA pianist (#NotJustANote)
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**“It’s a nice experience for some people who might not have been away from where they are. It’s nice to go somewhere else independently and find yourself and meet other people from different parts of the UK and just play music together.”**
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— NOFA violinist
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Communictions and Funding
Year Ended 30 June 2024
Annual Report
## **Digital highlights**
## **17 LGBTQIA+ musicians who totally rock our world**
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Discover
**----- End of picture text -----**
**Ready to make your playlist more inclusive? Then read on...**
**Not Just A Note: 7 reasons National Orchestra for All’s inspiring young musicians urge others to join**
News
**From connecting with our thriving musical community to performing at iconic arts venues, here’s everything you need you know...**
## **7 wonderful ways that youth leadership will empower your youth orchestra**
Discover
**Because young people are the future...**
## **Making an impact: read Orchestras for All’s powerful new report**
**----- Start of picture text -----**
News
**----- End of picture text -----**
**Building inclusive communities, one musical note at a time...**
**Big Give: Double your donation this spring with our Arts for Impact campaign!**
**----- Start of picture text -----**
News
**----- End of picture text -----**
**Together, we can make a difference.**
**Meet National Orchestra for All musicians, Lola and Christian**
News
**From building their confidence to boosting their skills , two of our**
**Coventry-based members share their NOFA story...**
## **Making a difference**
## 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.
Thank you to our funders and donors for coming on this journey with us: 29th May 1961 Charitable Trust, Arts Council England, Association of British Orchestras Sirens Fund, The Big Give, Clore Duffield Foundation, D’Oyly Carte Charitable Trust, Department for Education, Finzi Trust, Foyle Foundation, Garfield Weston Foundation, Hakluyt, Harriet’s Trust, Ingles & Hayday, Rachel Baker Memorial Charity, Rayne Foundation, Scops Arts Trust, Wavendon Foundation and all of our individual supporters.
## **“It was fantastic to see how confident they were playing with others. They really held their own and were able to keep up brilliantly. Some of the less able musicians gained in confidence and really learned from the teachers at the spring Meet.”**
— Modulo leader
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Annual Report
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# **Financial report July 2023 – June 2024**
42
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**Programmes**
**Partnerships**
**Safeguarding**
**Financial sustainability**
**Staffing**
## **Wellbeing**
## **Risk**
Growth of the charity has an impact on the quality of work being delivered and risk of burnout
Third parties roll out of OFA’s approach with limited success, impacting the brand’s association with quality.
A safeguarding incident takes place and/or is noteffectively handled.
Orchestras for All may grow to a size that cannot be maintained by incoming revenue.
Staff overstretch negotiating the everincreasing ambitions of the charity.
OFA event staff may not have the requisite knowledge to support a broader range of needs of young people or staff within our programmes.
## **Mitigation**
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 in place.
A strategic partnership agreement will be in place to ensure that outcomes and values align, which will be regularly reviewed and learnings integrated.
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.
We will continue to invest in strategic fundraising opportunities and donor care and maintaining careful budget monitoring and re-forecasting with team and trustees.
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 well-being is regularly discussed and people feel safe to share pressure.
A skills audit is in process of the team, Trustees and freelance team and we will up-skill or recruit specialist skill sets required to support the increased needs of the young people and staff we work with.
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## **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.
- 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 decisionmaking. 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.
## **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.
**Governing document** Constitution
## **Legal Status**
Charitable Incorporated Organisation (CIO)
## **Companies house reference number**
CE000005
**Registered office** Office 9, Shirley House, 31 Psalter Lane, Sheffield S11 8YL
## **Independent examiner**
Bianca Permal, Dux Advisory Limited, Kennel Club House, Gatehouse Way, Aylesbury HP19 8DB
## **Accountant**
Enaid Accountancy Ltd 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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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 £213,777, the equivalent of approximately four 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.
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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.
- 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.
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 5 December 2024 and signed on its behalf by:
**Joelle Sogunro (left) Co-Chair of Trustees**
**Susanna Eastburn (right) Co-Chair of Trustees**
The Trustees are responsible for keeping dequate accounting records that are sufficient to show and explain 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 51 of this document meet the requirements of the Trustees’ Annual Report under charity law.
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## **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.
## **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
3. the accounts do not comply with the applicable requirements concerning the form and content of accounts set out in the Charities (Accounts and Reports) Regulations 2008 other than any requirement that the accounts give a ‘true and fair view’ which is not a matter considered as part of an independent examination.
I have no concerns and have come across no other matters in connection with the examination to which attention should be drawn in this report in order to enable a proper understanding of the accounts to be reached.
## **Bianca Permal FCA**
For and on behalf of Dux Advixory Limited, Kennel Club House, Gatehouse Way, Aylesbury, HP19 8DB
**Date:** 29 January 2025
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||Notes|**Unrestricted**
**Funds**
**2024**
**£**|**Restricted**
**Funds**
**2024**
**£**|**Total**
**Funds**
**2024**
**£**|Total
funds
2023
£|
|---|---|---|---|---|---|
|**Income from**
Donations and legacies
Charitable activities
Investments|3
4|624,447
16,491
2,254|98,742
-
-|**723,189**
**16,491**
**2,254**|513,736
21,220
486|
|Other - Orchestra Tax Relief||144,858|-|144,858|-|
|**Total income**
**Expenditure on**||**788,050**|**98,742**|**886,792**|535,442|
|Raising funds
Charitable activities
National Orchestra
for All
Modulo Programme
Music Leadership
Training
Charitable activities
**Total expenditure**
**Net income/ (expenditure)**|5 & 6
5 & 7
5 & 8
5 & 9|52,027
460,500
114,885
39,925
**615,310**
**667,337**
**120,713**|583
41,177
42,151
17,279
**100,607**
**101,190**
**(2,448)**|**52,610**
**501,677**
**157,036**
**57,204**
**715,917**
**768,527**
**118,265**|18,547
379,532
143,952
46,676
570,160
588,707
(53,265)|
|**Reconciliation of funds**||||||
|Balance brought|14 & 15|162,421|25,000|**187,421**|240,686|
|forward||||||
|Balance carried forward|14 & 15|**283,134**|**22,552**|**305,686**|187,421|
The notes on pages 60 to 78 to form part of the financial statements.
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|**Fixed assets**|Notes|**Total**
**Funds**
**2024**
**£**|Total
funds
2023
£|
|---|---|---|---|
|Tangible assets|11|**2,388**|1,577|
|**Current assets**||||
|Debtors and prepayments|12|169,026|27,251|
|Cash at bank and in hand||316,199|321,593|
|||485,225|348,844|
|**Creditors**||||
|amounts falling due|13|(181,927)|(163,000)|
|withing one year||||
|**Net current assets**
**Net assets**
**Funds of the charity**||**303,298**
**305,686**|185,844
187,421|
|Restricted funds
Unrestricted funds
General funds
Designated funds|14 &
15
14 &
15
14 &
15|**22,552**
213,777
69,357
**283,134**
**305,686**|25,000
155,382
7,039
162,421
187,421|
The notes on pages 60 to 78 to form part of the financial statements.
The financial statements were approved and authorised for issue by the Board of Trustees on 5 December 2024 and signed on their behalf by:
Susanna Eastburn and Joelle Sogunro – Co-Chairs of Trustees
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|**Cash flows 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 flows from investing activities**
Investment income
Purchase of fixed assets
Net cash used in investing activities
Net cash used in financing activities
Change in cash and cash equivalents
Cash and cash equivalents at the
beginning of the period|**Total**
**Funds**
**2024**
**£**
**118,265**
**958**
**(2,254)**
**3,140**
**791**
**(145,706)**
**19,429**
**420**
**10,783**
**(12,641)**
**936**
**(124,144)**
**(5,879)**
**2,254**
**(1,769)**
**485**
**-**
**(5,394)**
**321,593**|Total
funds
2023
£
(53,265)
958
(486)
(1,700)
(1,721)
(820)
(3,890)
816
(1,546)
63,375
3,513
58,499
5,234
486
-
486
-
5,720
315,873|
|---|---|---|
|Cash and cash equivalents at the|**316,199**|321,593|
|end of the period|||
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## **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 2024, 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 2024 and the results for the year ended on that date.
The financial statements have been prepared to give a ‘true and fair’ view and have departed from the Charities (Account and Reports) Regulations 2008 only to the extent required to provide a ‘true and fair’ view. This departure has involved early adoption of the 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) for accounting periods beginning on or after 1 January 2019 rather than the Accounting and Reporting by Charities: Statement of Recommended Practice effective from 1 April 2005 which has been withdrawn. The financial statements are prepared in accordance with the Charities Act 2011.
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 Office 9, Shirley House, 31 Psalter Lane, Sheffield S11 9YL.
## **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.
Designated funds are unrestricted funds which have been designated for a specific purpose by the Trustees. The aim and use of each designated fund is set out in note 14 of the financial statements.
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.
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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.
## **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.
## **2. Comparative statement of financial activities**
|||Unrestricted
Restricted||Total||
|---|---|---|---|---|---|
|||Funds
Funds||Funds||
|||2023
2023|2023|||
||Notes|£|£|£||
|**Income from:**||||||
|Donations & legacies|3|300,015
|213,721|
513,736||
|Charitable activities|4|21,220|-|
21,220||
|Investment income||486|-|
486||
|**Total income**
**Expenditure on:**||321,721
|213,721|
535,442||
|Raising funds
Charitable activities
National Orchestra for All
Modulo Programme
Music Leadership
Training
Charitable activities
**Total expenditure**
**Net income/(expenditure)**|5 & 6
5 & 6
5 & 7
5 & 8|16,458
245,595
98,735
26,418
370,748
387,206
(65,485)|2,089
133,937
45,217
20,258
199,412
201,501
12,220|
18,547
379,532
143,952
46,676
570,160
588,707
(53,265)|
|
|**Reconciliation of funds**||||||
|Balance brought forward|14 & 15|227,906|12,780|240,686||
|Balance carried forward|14 & 15|162,421|25,000|187,421||
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## **3. Income from donations and legacies**
||**Unrestricted**|**Restricted**|**Total**|
|---|---|---|---|
||**Funds**|**Funds**|**Funds**|
||**2024**|**2024**|**2024**|
||**£**|**£**|**£**|
|Grant income|385,632|
76,742|
**462,374**|
|Donations|223,475|
22,000|
**245,475**|
|Fundraising events|840|
-|
**840**|
|Donations in kind (see note 17)|14,500|
-|
**14,500**|
||**624,447**|
**98,742**|
**723,189**|
||Unrestricted|Restricted|Total|
||Funds|Funds|Funds|
||2023|2023|2023|
||£|£|£|
|Grant income|128,357|
188,721|
317,078|
|Donations|159,762|
25,000|
184,762|
|Fundraising events|11,896|
-|
11,896|
||300,015|
213,721|
513,736|
## **4. Income from charitable activities**
||**Unrestricted**|**Restricted**|**Total**|
|---|---|---|---|
||**Funds**|**Funds**|**Funds**|
||**2024**|**2024**|**2024**|
||**£**|**£**|**£**|
|Service user contributions|16,491|-|**16,491**|
||**16,491**|**-**|**16,491**|
||Unrestricted|Restricted|Total|
||Funds|Funds|Funds|
||2023|2023|2023|
||£|£|£|
|Service user contributions|21,220|-|21,220|
||21,220|-|21,220|
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## **5. Total expenditure**
|**5. Total expenditure**||||||
|---|---|---|---|---|---|
||**Direct**
**staf**
**costs**|**Direct**
**other**
**costs**|**Indirect**
**staf**
**costs**|**Indirect**
**other**
**costs**|**Total**
**Funds**|
||**2024**|**2024**|**2024**|**2024**|**2024**|
||**£**|**£**|**£**|**£**|**£**|
|**Expenditure on**||||||
|Raising funds|25,044|17,496|4,322|5,748|**52,610**|
|Charitable expenditure||||||
|National Orchestra for All|120,941|284,712|41,211|54,813|**501,677**|
|Modulo Programme|63,036|63,942|12,900|17,158|**157,036**|
|Music Leadership Training|39,262|6,992|4,700|6,250|**57,204**|
||**248,283**|**373,142**|**63,133**|**83,969**|**768,527**|
|
Music Leadership Training|,
39,262
**248,283**|,
6,992
**373,142**|,
4,700
**63,133**|,
6,250
**83,969**|**,**
**57,204**
**768,527**|
|---|---|---|---|---|---|
||Direct
staf
costs|Direct
other
costs|Indirect
staf
costs|Indirect
other
costs|Total
Funds|
||2023|2023|2023|2023|2023|
||£|£|£|£|£|
|**Expenditure on**||||||
|Raising funds|13,115|2,126|1,338|1,968|18,547|
|Charitable expenditure||||||
|National Orchestra for All|101,018|210,860|27,379|40,275|379,532|
|Modulo Programme|58,616|59,675|10,385|15,276|143,952|
|Music Leadership Training|34,008|4,348|3,367|4,953|46,676|
||206,757|277,009|42,469|62,472|588,707|
Other direct costs consist of the non payroll related costs of running each programme area, including the use of freelancers, accommodation for residential courses, travel costs for both participants and staff, and venue and equipment hire amongst other items.
Indirect costs, including governance costs, which cannot be directly attributed to activities, are allocated proportionate to total direct costs to each project area.
An analysis of staff costs can be found in note 10.
## **Indirect costs include:**
|**Indirect costs include:**|||
|---|---|---|
||**Total**|Total|
||**Funds**|Funds|
||**2024**|2023|
||**£**|£|
|Ofce and administration|**63,004**|49,484|
|Marketing and publicity|**6,128**|2,986|
|Finance|**9,694**|6,604|
|Governance|**5,143**|3,398|
||**83,969**|62,472|
## **Governance costs include:**
|**Governance costs include:**|||
|---|---|---|
||**Total**|Total|
||**Funds**|Funds|
||**2024**|2023|
||**£**|£|
|Independent examination|**1,980**|1,680|
|Production of annual accounts|**1,536**|1,464|
|Trustee meeting expenses|**371**|52|
|Trustee recruitment|**1,256**|202|
||**5,143**|3,398|
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Annual Report
## **6. Expenditure on raising funds**
|**6. Expenditure on raising funds**||||
|---|---|---|---|
||**Unrestricted**|**Restricted**|**Total**|
||**Funds**|**Funds**|**Funds**|
||**2024**|**2024**|**2024**|
||**£**|**£**|**£**|
|Direct staf costs|25,044|-|**25,044**|
|Direct other costs|17,496|-|**17,496**|
|Indirect costs|9,487|583|**10,070**|
||**52,027**|**583**|**52,610**|
||Unrestricted|Restricted|Total|
||Funds|Funds|Funds|
||2023|2023|2023|
||£|£|£|
|Direct staf costs|13,115|-|13,115|
|Direct other costs|2,126|-|2,126|
|Indirect costs|1,217|2,089|3,306|
||16,458|2,089|18,547|
## **7. Expenditure on National Orchestra for All**
|**7. Expenditure on National**
**Orchestra for All**||||
|---|---|---|---|
||**Unrestricted**|**Restricted**|**Total**|
||**Funds**|**Funds**|**Funds**|
||**2024**|**2024**|**2024**|
||**£**|**£**|**£**|
|Direct staf costs|98,126|22,815|**120,941**|
|Direct other costs|271,912|12,800|**284,712**|
|Indirect costs|90,462|5,562|**96,024**|
||**460,500**|**41,177**|**501,677**|
||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|
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Year Ended 30 June 2024
Annual Report
## **8. Expenditure on Modulo Programme**
|**8. Expenditure on Modulo Programme**||||
|---|---|---|---|
||**Unrestricted**|**Restricted**
**Total**||
||**Funds**|**Funds**
**Funds**||
||**2024**|**2024**
**2024**||
||**£**|**£**|**£**|
|Direct staf costs|27,626|35,410
|**63,036**|
|Direct other costs|58,942|5,000
|**63,942**|
|Indirect costs|28,317|1,741
|**30,058**|
||**114,885**|**42,151**
**157,036**||
||Unrestricted|Restricted
Total||
||Funds|Funds
Funds||
||2023|2023
2023||
||£|£|£|
|Direct staf costs|37,616|21,000|58,616|
|Direct other costs|51,675|8,000|59,675|
|Indirect costs|9,444|16,217|25,661|
||98,735|45,217
143,952||
## **9. Expenditure on Music Leadership Training**
|**9. Expenditure on**
**Music Leadership Training**||||
|---|---|---|---|
||**Unrestricted**|**Restricted**|**Total**|
||**Funds**|**Funds**|**Funds**|
||**2024**|**2024**|**2024**|
||**£**|**£**|**£**|
|Direct staf costs|26,628|
12,634|**39,262**|
|Direct other costs|2,981|
4,011|**6,992**|
|Indirect costs|10,316|
634|**10,950**|
||**39,925**|
**17,279**|**57,204**|
||Unrestricted|Restricted|Total|
||Funds|Funds|Funds|
||2023|2023|2023|
||£|£|£|
|Direct staf costs|23,019|10,989|34,008|
|Direct other costs|337|4,011|4,348|
|Indirect costs|3,062|5,258|8,320|
||26,418|20,258|46,676|
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Annual Report
## **10. Staff costs**
|**10. Staf costs**|||
|---|---|---|
||**Total**|Total|
||**Funds**|Funds|
||**2024**|2023|
||**£**|£|
|Gross salaries|**279,769**|223,952|
|Employer’s NIC|**22,911**|18,393|
|Employer’s pension|**8,736**|6,881|
||**311,416**|249,226|
The average headcount during the period was nine persons (2023: nine persons).
One employee received employee benefits of between £60,000 and £69,999 (2023: NIL). The total employee benefits paid to key management personnel during the year was £136,899 (2023: £66,498). The increase is as a result of restructuring to put more dedicated management time into leading our programmes and growing the organisation to benefit more young people. Key management personnel now consists of Executive Director, Head of Programmes and Partnerships and Head of Fundraising (2023: Executive Director only).
## **11. Tangible fixed assets**
|**11. Tangible fxed assets**|||
|---|---|---|
||**Computer**||
||**equipment**|**Total**|
||**£**|**£**|
|**Cost**|||
|As at 1 July 2023|**2,874**|**2,874**|
|Additions|1,769|1,769|
|As at 30 June 2024
**Accumulated depreciation**|4,643|**4,643**|
|As at 1 July 2023
Charge in year
As at 30 June 2024
**Net book value**|**1,297**
958
**2,255**|**1,297**
**958**
**2,255**|
|As at 1 July 2023
As at 30 June 2024|**1,577**
**2,388**|**1,577**
**2,388**|
## **12. Debtors and prepayments**
|**12. Debtors and prepayments**|||
|---|---|---|
||**Total**|Total|
||**Funds**|Funds|
||**2024**|2023|
||**£**|£|
|Accounts receivable|**6,375**|9,515|
|Prepayments|**15,793**|16,584|
|Accrued income|**146,858**|1,152|
||**169,026**|27,251|
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Annual Report
## **13. Creditors: amounts falling due within one year**
|**13. Creditors: amounts falling**
**due within one year**|||
|---|---|---|
||**Total**|Total|
||**Funds**|Funds|
||**2024**|2023|
||**£**|£|
|Accounts payable|**28,026**|8,597|
|HMRC control account|**5,356**|5,058|
|Pensions control account|**1,304**|1,182|
|Accruals|**16,838**|6,055|
|Deferred grant income|**125,537**|138,178|
|Credit card|**4,866**|3,930|
||**181,927**|163,000|
## **Deferred revenue consists of:**
||**Total**|Total|
|---|---|---|
||**Funds**|Funds|
||**2024**|2023|
||**£**|£|
|As at 1 July 2023|**138,178**|74,803|
|Released in year|**(138,178)**|(74,803)|
|Deferred in year|**125,537**|138,178|
|As at 30 June 2024|**125,537**|138,178|
## **14. Analysis of charity funds**
||**Balance**|**Income**|**Expenditure**|**Transfers**|**Balance**|
|---|---|---|---|---|---|
||**brought**|**in the**|**in the**|**between**|**carried**|
||**forward**|**year**|**year**|**funds**|**forward**|
||**2024**|**2024**|**2024**|**2024**|**2024**|
||**£**|**£**|**£**|**£**|**£**|
|**Unrestricted funds**||||||
|General funds|155,382|788,050|(660,298)|(69,357)|**213,777**|
|Designated funds||||||
|Programme reserve|7,039|-|(7,039)|69,357|**69,357**|
|**Restricted funds**|**162,421**|**788,050**|**(667,337)**|**-**|**283,134**|
|National Orchestra for All
Modulo Programme
Youth Leadership
Permanent salaries
Florence Price|-
-
25,000
-
-
**25,000**
**187,421**|12,800
22,500
22,000
38,642
2,800
**98,742**
**886,792**|(12,800)
(22,500)
(27,000)
(38,642)
(248)
**(101,190)**
**(768,527)**|-
-
-
-
-
**-**
**-**|**-**
**-**
**20,000**
**-**
**2,552**
**22,552**
**305,686**|
## **Designated funds**
## **Restricted funds**
**Programme reserve:** Due to high inflation, a growing number of participants post pandemic, and our commitment to safeguarding and wellbeing, the cost of the orchestra has increased. We are carefully managing our budgeting process to ensure financial control while continuing to invest in these essential areas for the future of the programme. As part of this, to ensure that the programmes can be delivered as planned, the Trustees have designated £69,357 of unrestricted reserves to cover any shortfall, within all three programme areas.
**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.
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Annual Report
**Permanent salaries:** These are funds received
**Modulo Programme:** These are funds received to support the Modulo Programme and were received from a variety of funders, including Arts Council England.
to support the work of the Artistic Director and Head of Programmes, as well as fundraising support.
**Youth Leadership:** These are funds received to support the new Youth Leadership Co-ordinator role.
**Florence Price:** These are funds received to support the performance of a specific piece of work.
Balance Income Expenditure Transfers Balance brought in the in the between carried forward year year funds forward 2023 2023 2023 2023 2023 £ £ £ £ £
## **15. Analysis of net assets**
|**15. Analysis of net assets**|||||
|---|---|---|---|---|
||**General**|**Designated**|**Restricted**|**Total**|
||**Funds**|**Funds**|**Funds**|**Funds**|
||**2024**|**2024**|**2024**|**2024**|
||**£**|**£**|**£**|**£**|
|Fixed assets|2,388|-|-|**2,388**|
|Current assets|381,316|-|34,552|**415,868**|
|Current liabilities|(169,927)|-|(12,000)|**(181,927)**|
||**213,777**|**-**|**22,552**|**236,329**|
## Unrestricted funds
|Unrestricted funds|Balance
brought
forward
2023
£|Income
in the
year
2023
£|Expenditure
in the
year
2023
£|Transfers
between
funds
2023
£|Balance
carried
forward
2023
£|
|---|---|---|---|---|---|
|General funds|175,577|321,721|(341,916)|-|155,382|
|Designated funds||||||
|Programme reserve|52,329|-|(45,290)|-|7,039|
|Restricted funds|227,906|321,721|(387,206)|-|162,421|
|National Orchestra for All
Modulo Programme
Music Leadership Training
Youth Leadership
Permanent salaries
Communications|3,200
-
-
-
-
9,580
12,780
240,686|102,981
38,000
15,000
25,000
9,661
23,079
213,721
535,442|(106,181)
(38,000)
(15,000)
-
(9,661)
(32,659)
(201,501)
(588,707)|-
-
-
-
-
-
-|-
-
-
25,000
-
25,000
187,421|
**Music Leadership Training:** These are funds received to support the Music Leadership Training Programme and were received from the Paul Hamlyn Foundation.
**Communications:** These are funds received to support the work of the Content and Communications Producer, as well as wider work.
||**213,777**|**-**|**22,552**|**236,329**|
|---|---|---|---|---|
||General|Designated|Restricted|Total|
||Funds|Funds|Funds|Funds|
||2023|2023|2023|2023|
||£|£|£|£|
|Fixed assets|1,577|-|-|1,577|
|Current assets|254,337|7,039|87,468|348,844|
|Current liabilities|(100,532)
155,382|-
7,039|(62,468)
25,000|(163,000)
187,421|
## **16. Other financial commitments**
At 30 June 2024, the Charity had annual future minimum lease payments under a non-cancellable operating lease for the office premises as set out below:
|**16. Other fnancial commitments**
At 30 June 2024, the Charity had annual
future minimum lease payments under
a non-cancellable operating lease for
the ofce premises as set out below:|||
|---|---|---|
||**Total**|Total|
||**Funds**|Funds|
||**2024**|2023|
||**£**|£|
|Due within one year|**833**|2,500|
||**833**|2,500|
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## **17. Donations in kind**
During the year, the Charity benefited from the following donations in kind:
|**17. Donations in kind**
During the year, the Charity benefited
from the following donations in kind:|||
|---|---|---|
||**Total**|Total|
||**Funds**|Funds|
||**2024**|2023|
||**£**|£|
|Venue hire for programmes|**9.500**|-|
|Legal advice|**5,000**|-|
||**14,500**|-|
## **18. Trustee remuneration**
During the year, no Trustee received any remuneration (2023: £NIL). Two members of the Board of Trustees received reimbursement of travel expenses totalling £1,190 (2023: No members received expenses totalling £NIL) and youth board members received remuneration for their roles supporting programmes, which is seperate from their role as Trustees, totalling £382 (2023: £NIL).
## **19. Related party transactions**
During the year, the total amount given as unrestricted donations by the trustees was £3,021 (2023: £1,476).
## **20. Guarantees and secured charges**
As of 30 June 2024, the Charity did not have any outstanding guarantees to third parties nor any debts secured against assets of the Charity (2023: £NIL).
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## **Thank you**
On behalf of the Team, Youth Board, Board of Trustees 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.
Thank you to our partners and venue hosts: Cecil Sharp House, Covington & Burling LLP, Glasgow Royal Concert Hall, LSO St Luke’s, MAC Birmingham, Royal Academy of Music, Royal Birmingham Conservatoire, Royal Northern College of Music, Sandwell Music Hub, SKY Music Hub, University of York.
Thank you and farewell to two of OFA’s Trustees and former Chairs, including Simon Page, Treasurer (Chair in 2018-19), and Trustee Philip Whalley (Chair in 2016-18), following eight years of service on the Board.
Thank you to our core team of freelancers: Artistic Director, Emma Oliver-Trend, Associate Conductor, Rocco Brunori, Head of Wellbeing, Sasha Mattock, Production Manager, Chris Tindall, our arrangers, Emily Crossland, Emily Lim, James Brady, Matt Poad and Simon Tong, our nurse, Denisse Levermore, Deputy Designated
Safeguarding Lead, Harriet Dyke, our photographer, Simeon Thaw, and the videography team at Broaden Productions.
Thank you to our inspiring team of Ambassadors: Atse St. Rose, Beau Collins, Chloe Morgan, Grace Hughes, Haseeb Usman, Keefe Theeng, Nell Thompson, Noah Dixon, Shannon Cockle and Tashan Jones.
Thank you to our Youth Board members: Abz Knaggs, Adam Elliot, Atse St. Rose, Cameron Jacobs, Chris Ebulu, Christian Dews, Eleni Tsatsou Gonzalez, Henry Burton, Khadijah Raji, Kit Wood, Nell Thompson, Niko Sharifirad, Noah Dixon, Noah Potter and Shannon Cockle.
Thank you to Clore Fellow and Artistic Director of Quirk Theatre, Katie Villa, who joined us this year to support with our future strategy ideas.
Finally, thank you to OFA’s core team, Board of Trustees, Youth Board, orchestral tutors, wellbeing staff and volunteers for working tirelessly to make these life-changing programmes possible.
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