Charity NLimber 1161268 The English Music Festival CONSOLIDATED UNAUDITED FINANCIAL STATEMENTS for the year ended 30 JUNE 2025
THE ENGLISH MUSIC FESTIVAL INDEX TO THE FINANCIAL STATEMENTS Page Administrative Details of the Charity, its Trusteos and Advisors 3-10 Trustees, Report 11 Independent Examinerfs Rcport 12 Consolidated Statement of Financial Activities 13 Group and Parent Charity Balance Sheets 14-17 Notes to the Consolidated Finanaal Statenients
THE ENGLISH MUSIC FESTIVAL ADMINISTRATIVE DETAILS OF THE CHARITY, ITS TRUSTEES AND ADVISERS CHARITY NAME The English Music Festival CHARITY NUMBER 1161268 (England) FOUNDER-DIRECTOR Em Marshall-Luck TRUSTEES at REPORT DATE Em Marshall-Luck Rupert Marshall-Luck Dr Joseph Spooner (appointed l November 2023, Chairman) Dr David Green (appointed l May 2024) Philip Mitchell (appointed 5 December 2024) Kevin Payncs (appointed 5 December 2024) PRINCIPAL OFFICE 4B Exbury Road, London SE6 4ND BANKERS Lloyds Bank plc 6 Market Place Blandford Forum Dorset DTII 7EE INDr,prNDf,NT EXAMINfR IlobLrt Boulton BSC. (Hon) FCA Thickbroom Coventry CharterLd Accountant.8 147a High Stroet Waltham Cross HLrtfordshire EN8 7AP WEBSITE htt vivw'.cn lislimusiofeslival.or
THE ENGLISH MUSIC FESTIVAL TRUSTEES, REPORT The Trustees present herewith their report and the unaudited financial statements of the charity for the year ended 30 June 2025. Structure, Governance and Management The charity was formed in 2015 to continue the work of an earlier charity which was founded in 2003. It is called The English Music Festival, but is also known as the EMF. The charity is a Charitable Incorporated Organisation (CIO) governed by a Constitution. A revised version of the Constitution was adopted on 12 May 2025 {.see fLirther below). The members of the CIO are its Trustees. Membership is not transferable. The Board of Trustees is responsible for selecting and recruiting suitable new Trustees. Every Trustee must be appointed for a term of three years by a resolution passed at a properly convened meeting of the Board. The minimum number of Trustees is three, and the maximum number that may be appointed is twelve. In SLlecting individuals for appointment, the Trustees must have resard to the skills, knowledge and experience needed for the effective administration of the CIO. Day-to-day decisions are made by the Founder Director, reporting to the Board of TrustL)es. Financial Statements The financial statements have been prL)pared in accordancL' Wlth the accounting policies set out in notL l of thL Notes to the Consolidated Financial Statements and comply with the charity's Constitution,. the Charities Act 2011; and thL second edition of the Statement of Recommended Practice applicable to charities preparing their accounts in accordancL Wlth the Financial Reporting Standard applicable in the UK and Rcpublic of Ireland (FRS 102) (SORP FRS 102). This report with consolidatL'd accounts deals with the activities of thc Charity itself and of its wholly owned subsidiary, EMF Endeavours Limited. Charitable Objectives and Activities Following substantive discussions by the Trustees, it was felt desirable to reword the Charity's charitable objectives and to make a number of minor administrative changes to thc Constitution. As required, the changes to the chari table objectives were submitted for approval to the Charity CommissÈon, which granted pennission for the rewording to be made. The revised Constitution, with reworded charitable objectives and administrative changes, was officially adopted by the Trustees at a meeting convened specifically for that purpose on 12 May 2025. The reworded charitable objectives are as follow.s. The objects of the CIO are the advancement of public education in the arts, and in particular (but not exclusively) the art.s of music, drama and poetry by (l) the promotion of music by British composers through regular festivals, concerts, recitals, lectures, exhibitions, recordings, broadcasts and other events anywhere in the United Kingdom and overseas;
THE ENGLISH MUSIC FESTIVAL {2) the provision of assistance to or collaboration with other organisations in the promotion of music by British composers anywhere in the United Kingdom and overseas, provided that this is not to the detriment of clause 3(1) above; (3) any other wholly charitable means as the Directors (as tMstees and hereinafter called "the Trustees") shall decide, provided that this is not to the detriment of clause 3(1) above. Nothtng in this constitution shall authorise an appIication of the property of the CIO for the purposes ivhich are not charitable in accordance with applicablc current statutes or regulations. The Trustees have continued to pay due regard to the Charity Commission's SLiidance on public benefit in deciding the activities undertaken by the charity during the year. The charity's activities are carried out entirely for public benefit. Two Trustees were reappointed on 24 March 2024 for a further term of three ycars. Both were among the original Trustees of the CIO, whose original constitution is dated 24 February 2015, and have thus served for more than nine years. Em Marshall-Luck is the Founder of the English Music Festival and has dedicated her entire working life to setting up and running it. She has a permanent contract with the Board of Trustees to run the Festival on a day-to-day basis, dealing with all aspects OE artistic programming and administration, including fundraisin& correspondence, audience, artist and venue liaison, accountin& etc. Rupert Marshall-Luck, who has a contract for services with the Board of TrustL'es, is engaged with the administration of the Festival on a regular basis. His work includes updating the Festival's wcbsitl, which he has built using entircly self-authored code,. supervising and executing desisms for the Festival's publicity matL)rial,' and constructing templates for contracts and other ILgal documents. He applies his experience as a soloist and chamber musician to advi.se on thL> SULtability of VL'nues and on tht dL'velopment and implementation of working plans for the smooth running of FestivaL concerts. His musicological expertise is invaluablL in rLsearching works for performance, sourcing performing materials and, where these do not exist, prL)paring scholarly editions for use in Festival performances. ENGLISH MUSIC FESTIVAL ACTIVITIES 2024-2025 Concert in London.. the Taillefelle Ensemble On 12 October 2024, the Tailleferre Ensemble, an ensemble fociising on chamber tnusic for winds, gave a well attended and warmly received EMF concert at the church of St John the Evangelist, Notting Hill GatL, London. The ensenible was named after the only female nicmber of the French composer group Le5 Six, Cermaine Tailleferre (1892-1983> and ivas intended to be formed entirely of female niusicians. (hi this occasion, the ensemble included oboe, bassoon and piano and featured Nicola Hands (oboe, oboe d'amore, cor anglais), Amy Thompson (babsoon) and Lana Bode (piano). They performed a variety ot works ranging from pieces for solo instriiment to trios. It ivas a pleasure to hai'e the eminent British composer Cecilia McDowall present; she had come to hear an arrangement that shL had made especially for the concert OE her chamber work Cavatina. Highlights included two solo works - the Gordon Jacob Partita lor Solo Bassoon and Benjamin Britten's SEX MctaiiiorphoSL's aftL'r Ovtd for solo oboe as well as Samuel Coleridge- Taylor's Variations in B minor, transcribed for bassoon from Ehe orÈginal For cello and piano. There was also Malcolm Arnold's delightful nine-niinute Sonatina for Oboe and Pianoforte. The concert ended with a work specifically for oboe, bassoon and piano, the Trio by Madeleine Dring.
THE ENGLISH MUSIC FESTIVAL The audience was rewarded with a short encore, a trio arrangement OE Edward Elgar's much- loved Saliit d'Amour. Concerts in South Africa For the past five years, the EMF has been promoting English music to South Africa through collaborative ventures. In March and April 2025, as in previous years, the concerts given and workshops run by EMF representatives were received with tremendous enthusiasm and interest. Violinist Rupert Marshall-Luck and South African pianist Peter Cartwright gave a concert including Tnusic by Herbert Howells and the world premiere of Alan Rawsthome's Sonata in A major in the beautiful wood-lined Chris Seabrooke Music Hall at the University of Witwatersrand. Attendance was good, and audience gave the Rawsthorne a rapturous reception. There were further concerts at the University of the North West in Potchefstroom (whcre there was a sizeable audience of black and whitei young and old) and in the Theatre on the Square in Sandton, Johannesburg (where was an audience of older listeners and children). Audiences in both venues were clearly thrilled and the première provoked much discussion. Beforc the first concert, Rupert delivered a masterclass on George Butterworth's Epiglish Idylls to students at the University of Witwatersrand, who were studying and performing the work, in a larse part due to the EMF'S on-soing collaboration with the Liniversity. Levels of student engagement were very higli. In addition to performing and leading workshops, Ruport was able to rehearse with his South African pianist colleague, both for thi concerts in South Africa and the 2025 EMF, as well as for an EM RL'cords recording scheduled for July 2025 at Potton Hall of the complete miisic for violin and piano by Alan Rawsthorne. The work that PetL'r Cartwright does with Rupei't and the EMF brings funding to the university at which hL) works, the UnivLrsity of Witwatersrand, to facilitate furthL'r musical projLCts and also to help fund places for students who would not otherwise be able to afford to attend the university. The concL)rts and recordlngs that they undertake are submittLid to the governmL)nt for peer review, and they have been being dL'cJmed important enough for grants to be made to the university to facilitate furthL'r research and musical projects. So as woll as touchÈng the lives of tho.se numerous audiencL' members who attend our concirts and the .studcnt.8 who take part in masterclasses aiid workshops, we arc also making a very tangible and positive diEferonce to the education, opportLinitiL)s and careers of future mLisicians ivho will benefit from these grants. The English Music Festival 2025 The 2025 Festival ran from Friday 23 May to Monday 26 May in Dorchester Abbey, Dorchester- on-Thames, Oxfordshire, and ivas highly successfut, with good audience attendance and a stimulating mix of concerts, recitals, and talks. On the Friday, Lewis Foreman opened with a pre-concert talk entitled "Recording Bri tish Music" which drew upon his extensive experience in the (ield. The openiiig concert ("A Night of Bliss"), with the BBC Concert Orchestra under the baton of Martin Yates, featured the Bliss Cello Concerto with Raphael WallEisch as soloist, marking the fiftieth anniversary of the composerfs death, alongside the long-overdue world premiere o( the powerful Symphony no.2 by Stanley Bate. Alwyn, Delius and Vaughan Williams were the foils to Bliss and Bate.
THE ENGLISH MUSIC FESTIVAL On the Saturday, the morning concert ("Music out of Silence"), given by Rupert Marshall-Luck (violin) and Peter Cartwright (piano), (eatured a remarkable nuniber of premières by non-living composers, including the first public performance o( Norman O'Neill's Violin Sonata, the British premiere of the Alan Rawsthome Violin Sonata and the world premieres of Ewo shorter works by Herbert Howells. The substantial Iunchtime reciEaI ("NighYs Bright Days"), given by Ben Alden (tenor) and Andrew Plant (piano), set songs by lamiliar names (Vaughan Williams, Howells, Warlock and Quilter) alongside others by less familiar but nevertheless fascinating figures, including John Jeffreys and Maude Valerie White. The afternoon talk was "The Celtic Warlock" given by music historian Dr Rhian Davies, and the main evening offering ("Peter Warlock's English Ayrcs") featured the Royal Ballet Sinfonia conducted by John Andrews performing Warlock's transcriptions for string orchestra of mLiSiC by seventeenth- and eighteenth-century British composers; this offered a whole new perspcctive on a composer known principally for liis songs. The day was rounded OEE with a recital ("From Prelude to Noctume") given by guitarist Jack Hancher with works ranging from John Dowland's Praeliidiiini to Benjamin Britten's Nocturnnl after Joliii Dowlfind. On the Sunday, the lunchtime concert was "A Celebration of English Wind Music", given by the St Cat's Ensemble and Adam Broughton, which included jaunty and appealing ivorks by Gordon Jacob, John Ireland and Gustav Holst. The afternoon talk was given by Christopher Hilton, Head of Archive and Library at Britten Peai"s Arts, on the lives and legacies of BL'njamin Britten and Peter Pears. The evening L)vent was a wL,Icome return Eor the Godlvine Choir under the direction of Hilary Davan WL'tton, in collaboration with organist Jonathan Kingston. No Fcwer than seven twentieth-century British composers were featurcd, with works both much-loved and unfamiliar. The late-evening offering was "All a Green Willow" in which sins7L'r I composL'r / researcher Stef Conner presented a suite of song.s bLLnding the modLm, folk and mediaeval and exploring stories OE hunian compassion and resilience. On the Monday, the day openod with a picturLSqLie recital by Hiroaki Takenouchi, "The Butterfly and the Toad" which aEongsidL) works by CLorge Dyson, Cecil Armstrong Gibbs, Lord Berners, and Thomas Pitfield, took a step towards reh1c bilitatins the nLglected output of two femalL' composers, DorL)L)n Carwithen and Caroline Reinagle. A Further step in this direction was taken in the lunchtime COiiCLirt given by the Berkeley Ensemble with Simon Callaghan, "Dorothy Howell's World" whicli leaTred the composer's String Quartet in D minor alongside chamber works by John Blackwood McEwen, Frank Bridge, Herbert Howells and Edward Elgar. The (inal afternoon talk, given by Matthew Madeley, was on "Mystic Moderns" and rcvolved around the lives and music of Cyril Scott and John Foulds. The FLstival's closing concert was "My Spirit Sans All Day" with the Excalibur Voices under the direction o( Duncan Aspden, with an uplifting selection of ivorks by composers including by Gerald Finzi, Herbert Howells, John Ireland, Robin Milford and Edgar Bciinton, finishing with Sir Edward Elgar's Lullaby. Further details of the Festival and its programme may be found at libhniubiitc4tival.()r,%. uk.
THE ENGLISH MUSIC FESTIVAL EDUCATION 2024-25 Schools Project The English Music Festival's 2025 educational project was again a tremendous success, thanks to the generosity and support of a number of grant-making organisations. The EMF Schools, Project took place in the Church of St John the Baptist in Bishop's Castle, Shropshire, and coaches were organised to bring all Key Stage 2 pupils from the Blue Hills Fedcration OF primary schools (Newcastle-on-clun School, Clunbury School and St Mary's, Bucknell). The EMF ongaged internationally acclaimed pianist Hiroaki Takenouchi, aivard-winning guitarist Fabio Fcrnandes (a Live Music Artist) and violinist Rupert Marshall-Luck to introduce their instruments to the children. All these very rural schools lack provision for music, so in many cases, this was the first time that the children had experienced classical music. Each artist gave a presentation on his instrument, a talk and a short concert. the children were highly engaged and clearly excited at the prospect OE being allowed to play on the instruments. Rupert introduced the violin first of all and performed Bach's GL7UOtte eli Rondeau from the Partita in E major for solo violin, after which he and Hiroaki together played Elgar's charmins Allegretto on GEDGE to demonstrate collaborative music-making. Hiroaki then engaged the children in a question-and-answer session and perfonncd the first movement of Beethoven's Piano Sonata in C minor, op.13 (Patlietiqiie). Although a number OE cliildren with ADHD wLre apparently present, one would not have known, so attentive was the audience. After this, Fabio introduced the guitar and, to illustrate the its capabilities, played three small pieccs by Ernest Shand (MarLli of thL' Pixies, A Nji riirli's Dniice and ThL' Giioities), as well as Isaac Albéniz's Sevilla from the Suite espaiiola 110.1. Questions poured in from the childrLn, even though it was thLir lunch break. After lunch and a short time for play in the beautiful churchyard, the pupils were dividcd into three groups that circLilated between Hiroaki on the piano in the crossing, Fabio and liis guitars near the kitchL'n and thc) violins in the children's play-arca. Eacli gr()up had half an hour with cach musician bL,fore rotatins to thL) next aroa, so that each child got to try all thrL'e instruments. The violins had been kindly provided by Shropshire Music Service from the Local Educational Auth()rity, and tho EMF had managed to arrange a gift of 5evLral half-si7,ed guitars from a private .%chool at which Fabio teaches to the Shropshire Music Service; these will now be available to Shropshire school-children to use in the fLiture. Rupert showed the children how to hold the violin and bow correctly, encouraglng them to try the different strings witli the bow and the colour pos.sibilities of pizzicato. Fabio sang and played What Shi711 We Do With the Driiiikeii Sailor? while the children strummed along, while Hiroaki helped the children explore the different harmonic possibilities of the piano: great chords emanatins from multiple little hands resonated around the chiirch. It was highly gratifying to wÈtness the children's joy and wonder, and to see how attentive, well- behaved and responsive they were throughout the entire day. Every single child had done something new that day, which emphasises how vital it is that the EMF develop this important work. For many children, access to liire music and the opportunity to play instruments is shrinking, and the EMF is committed to rectifying this. On-going Commitment As in previous years, the EMF offered free tickets to the concerts of the EMF 2025 to all Oxfordshire school-children and actively promoted this offer throughout the counEy.
THE ENGLISH MUSIC FESTIVAL Internship Scheme Those wishing to take part in the EMF'S popuIar and rewarding Internship Scheme have reached ever higher numbers, with students from universities throughout the UK and even overseas taking part in the Scheme during 2024 and 2025. Interns receive guidance and instruction and they gain hands-on experience, assisting with adTninistrative tasks prior to and after the Festival and being involved in the Festival itself in a variety of important roles. We receive oxtremeIy positive feedback from our Interns, many of whom conEinLie to be involved in the Festival in other positions after their Internship period has finished. Highly L]ualiEied interns have already joined the Programme for 2026 and are assisting with administrative and creating writing tasks. EMF ENDEAVOURS LIMITED In the year to 30 June 2025, six very diverse recordings were released by EM Records. EMR CD084- The SoiiTid of Hidden Miisic and EMR CD086- Tlie Blessed Dnniozel, two song discs from baritone Jereniy Huw Williams containing many beautiful world premières, the first devoted to Sir Hubert Parry and the second to Sir Arnold Bax EMR CD091- Beaiitji Veil'd - chamber works by Sir John Blackwood McEwen, Dorothy Howell, Tobias Matthay and Marie Dare, recorded by the BLirkeley En.8emble and pianist Simon Callaghan EMR CD094- And tlie Blfickl?ird Saiig, a disc of bL'autiful and important choral works sung by the Excalibur Voices, including the world prL>mière recording.s of works by HL>rbert HowL.Ils, Alan Rawsthome, Edgar Baiiiton, John IreLand, and Robin Milford EMR CD095 - Inclltidesceiit Incantfilions, which prL'sents Ricliard BLackFord's Drea7fES aiid Syellq, based on Shakespeare's TIEe leiiipest, for narrator and i'iolin (Em and RupL'rt Marshall-Luck), Richard Pantcheff's To Ai£tutFEpi for the same forces (for the saniL. forces), and Joseph Phibbs's SLlltefor Solo Violiii EMR CD092 Heir of L711 tlie A,Kyes, which features the FlutL'S and Fret.$ Duo, wlio so impre.ssed aiidiencos at the 2024 EMF, in music rangins from Honry Purcell and Henry Eccles, throiigh Stanley and Maunder to Amold and Duarte FUTURE PLANS South Africa Tlie EMF will again bc taking the music of British composers, and in partiCLilar that of Dclius, to JohannLsburg, SteLlenbosch, Hermanus and various venue.s in the Eastern Cape, and will be Ivorkins with the universities of Witwatersrand and Stellenbosch. The University of Witwatersrand has been presented ivith a copy of RLipert Marshall-Luck's G. Henle Verlag edition of Elgar's SL'fiNade for Slriiigs (score and parts), and he hopLS to have the opportLinity to work ivith the student string orchestra on thÉs, as well as to lead composition workshops based around a work by a near-contemporary British composer. There is also the possibility of a special EMF concert at the end of the tour, subject to Eunding being found by the University OE Witwatersrand.
THE ENGLISH MUSIC FESTIVAL The English Music Festival 2026 The 2026 Festival wiIl be the first not to be held in Dorchester Abbey, owing to a regrettable double booking by the Abbey. The Festival is to be held at Dartington Hall, Devon, which potentiaIly offers an enhanced experience for audiences. Dartington has long been associated with English music, so is an ideal location in many ways. The 2026 Festiiial boasts a stellar linL- up of artists, inclLiding soprano LotEe Betts-Dean, tenor James Gilchrtst, cellist Raphael Wallfisch, hom-player Ben Goldscheider, and piani.sts Hiroaki Takenouchi and Simon Callaghan. It opens with the London Mozart Players in a programme (eaturing Finzi's Clarinet Concerto and Linley's Violin Concerto in F major, and will also feature a concert-play on Purcell by the critically- acclaimed group The Telling,. a dramatic concert-show on Ralph and Ursula Vaughan Williams. and the usual EMF choral concert, this time to feature Elgar's Songs fi'oiti the Bfivfirillii Higlilfiiids. Late-evening events will featLire brilliant young guitarist Fabio Femandes, and Eleanor & Gus, whose prograrnme ranges from sixteenth-century lute songs to folk-.songs, presented with a winning combination of stunning musicianship and intimate story-telling. EMF Endeavours In December 2025 EM Records will be relLiasing Heir of oll tlie Ageb {EMRCD092), foaturins the Flutes and Frets Duo who so delishted audiences at the 2024 EMF, with the disc repertoiro based on their EMF programme; while in January 2026 the label plans to issue Du Hnst Dinvioiiten (EMRCD096), containins the complete music by Alan Rawsthorne for violin and piano, inclLiding several thrilling world prL'mière rLcordinss. SevL'ral more recordings will be releasL,d in time for the EMF, including a disc of sonss by Ivor GurnL'y, and a disc of enchcinting guitar music spanning thL ages from Fabio Femandes. Following the success of the concert o( Ayres transcribed by PL'ter Warlock at the 2025 EMF, which showcasL,d a different and genL>rally unknown side to a composL'r known only as a mastL'r of son& these works have bLen recorded by the Royal Ballet Sinfonia in NovL)mber 2025 for EM Rocord.s. FRIENDS, SCHEME ThL EMF is loyally supported by a Friends, SchemL' which continiies to grow, with a membership which has now reached a total 01394 mL)mbers. From tlie national scheme a local Oxfordshire branch continued to give help promoting the Festival within Oxfordshire. COMMUNICATION TH MEMBERS The EMF keeps its members and the wider public closely informed of its progress and development and of (uture events. It does this tlirough its website and througli regular cmail bLilletins. The EMF publishes an anniial, glossy, A4, 100+ pase Ga7.ette, Spiyitcd, which featiires authoritative articles on many musical .subjects, ranging from British composers and musicians through Eo wider aspects of British cultural life, such as art and film. There are also regiilar features, such as interviews with miisicians and composers, and reviews of books, recordings, and concerts.
THE ENGLISH MUSIC FESTIVAL FINANCIAL REVIEW Total income increased from £205,975 {2024) to £207,647 (2025). The surplus for the year amounted to £11,067 {2024.. £40,997), and at 30 June 2025, unrestricted funds amounted to £164,590 (2024: £153,523). Of this, £156,000 are designated funds held, by policy of the trustees, as reserves to fund the main EMF Festival for one year in advance. This sum is estirnated on the clsis of the costs of recent festivals and projections for the 2026 Festival. In the year to 30 Jiine 2026, the EMF will incur additional expenses o( around £1 1,000 around publicity and marketing. Independent Examiner The independent examiner, Robert Boulton BSC. (hons), FCA, is available for re-appointment. By Order of the Board Dr Joseph Spooner, Chairnian 24 November 2025 10
THE ENGLISH MUSIC FESTIVAL INDEPENDENT EXAMINER'S REPORT I report to the charity trustees on my examination of the consolidated accounts of the Group comprising The English Music Festival ("the Charity") and its subsidiary undertaking for the year ended 30 June 2025, comprising l. Consolidated Statement of Financial Activities for the Year Ended 30 June 2025 (for The English Music Festival and subsidiary company) 2. Balance Sheets (for The English Music Festival and subsidiary company) 3. Notes to the Consolidated Accounts for the Year ended 30 June 2025 Responsibilities and Basis of Report As the trustees of the Charity, you are responsiblc for the preparation of the consolidated accounts of the Group in accordance with the requirements of the Charities Act 2011 ("the Act"), and you have chosen to prepare consolidated accounts for the Group. You are satisfied that the accounts of both the Charity and the Group are not required by charity law to be audited and have chosen instead to have an independent examination. report in respect of my examination of the consolidated ac¢oLints. I have carried out my examination under section 145 of the 2011 Act. In carrying out my examination I have followed the Directions given by the Charity Commission under section 145<5)(b) of the 2011 Act. An independent examination doLs not involve gathering all the L¥vÉdence that would be required in an audit and consc'quently does not cover all thL) matters that an auditor considers in giving their opinion on tlie accounts. The planning and conduct of an audit goes beyond thL' liniited assurance that an independL'nt examination can provide. Consequently, l express no opinion as to whether the consolidated accounts pre.sent a "true and fair" view, and my report is limited to the specific matters set oiit in the independent examiner's statenient. Independent Examinerfs statement have completed my examination. I confirni that no niatL)rial inatters havL) conie to my attention in connection with the Lxamination VIng me cause to bcslieve that in any material respL'Ct: accounting records, with respect to the Charity, were not kept as requirld by section 130 of the 2011 Act and, with respL'Ct to its subsidiary, were not kL'pt as reiiuired by soction 386 of the Companies Act 2006. or 2. the accoiints do not accord with tliose rl'cords; or 3. the accoLints do not comply with the applicablLJ 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 glve a "true and fair vicw" which is not a matter considered as part of an independent examination; or 4. the accounts have not been prepared in accordance with the methods and principles of the Statement of Recommended Practice for accounting and reporting by charities applicable to charities preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102). I have no concems and have come across no other tnatters Én connection with the examination to which attention should be dralvn in this report in order to enable a proper understanding of the accounts to be reached. Robert Boulton Bsc. (Hons) FCA Thickbroom Coventry Chartered Accountants 147a Hish Street, Waltham Cross, Hertfordshire EN8 7AP 24 November 2025
THE ENGLISH MUSIC FESTIVAL and subsidiary company CONSOLIDATED STATEMENT OF FINANCIAL ACTIVITIES FOR THE YEAR ENDED 30 JUNE 2025 Income and Expenditure Unrestrlcted Funds 2025 Note 2024 Income from: Grants and sponsorship Subscriptions Donations and Gift Aid 68,253 26,101 59.411 56,055 24,419 78,468 153,765 158,942 Charitable Activities- Ticket sales Advertising CD and book sales 28,598 4,700 20.584 28,633 2,640 15,760 53,882 47,033 Total Inc¢me 207,647 205,975 Expenditure on Charitable Activities (196,5801 (164,978) Net Income and net movement In funds 11,067 40,997 Reconciliation of funds: Funds brought forward at l July 2024 153,523 112,526 Funds carried forward at 30 June 2025 £ 164,590 £ 153,523 The statement of financial activities includes all gains and losses recognised in the period. All income and expenditure derive from continuing activities. There were no restricted funds in the current or preceding period.
THE ENGLISH MUSIC FESTIVAL BALANCE SHEETS AT 30 JUNE 2025 Consolidated with subsidiary 2025 Note Parent Charity only 2025 2024 2024 FIXED ASSETS Tangible assets Investments CURRENT ASSETS Stock Debtors Cash al bank and in hand 2,700 3,393 180.947 2,700 13,110 169,431 11.437 174,702 21,429 162.819 187,040 185,241 186.139 184,248 CREDITORS: Amounts falllng due wlthln one year { 22.451) { 31.719) (21,551) (30,727) NET CURRENT ASSErs 164,589 153,522 164,588 153,521 NET ASSETS £ 164,590 £ 153,523 £ 164,590 £ 153,523 repr8sentlng.' Unrestricted funds - General Fund 164,590 153,523 164,590 153,523 TOTAL FUNDS £ 164,590 £ 153,523 £ 164,590 £ 153,523 These eccounls were approved by the Board of Trustees on 24 November 2025 and signed on their behalf by., Em Marshall-Luck Twstee Joseph Spooner Chairman Charlty number 1161268 13
THE ENGLISH MUSIC FESTIVAL NOTES TO THE CONSOLIDATED ACCOUNTS FOR THE YEAR ENDED 30 JUNE 2025 ACCOUNTING POLICIES BASIS OF ACCOUNTING These financial statements have been prepared in accordance with FRS 102 "The Financial Reporting Standard applicable in the UK and Republic of Ireland" ("FRS 102")- The disclosure requirements of section 1A of FRS 102 have been applied other than where additional disclosure is required lo show 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 £. The charity constitutes a public benefit entity as defined by FRS 102. There are no malerial uncertainties about the charity's ability to continue, and so the going concern basis of accounting has been adopted. The accounts consolidate the accounts of the charity with those of the subsidiary company, EMF Endeavours Limited. Intra-group transactions and balances are fully eliminated on consolidation. INCOME RECOGNITION All income is recognised once the charity hss entitlement to the income, it is probable thal the income will be received and the amount of income receivable can be measured reliably. Subscriptions and donations are accounted for when received. Income Tax recoverable in respect of Gift Aid is recognised at the time of the donation. Sponsorship for concerts, festivals and other events is recognised when the event takes place. Sales and costs of recordings and publications are accounted for on an accruals basis. It is not considered possible to quantify the value of donated services and facilities, or the value of services provided by volunteers, which have not been included in the financial statements. EXPENDITURE RECOGNITION Expenditure is recognised when there is a legal or constructive obligation to transfer resources to a third party, settlement is probable and the amount can be measured reliably. FIXED ASSETS AND DEPRECIATION The company has begun the construction of an office and storage building on leasehold land. This is being depreciated on a straight line basis over its expected useful life of five years. STOCK AND WORK IN PROGRESS Stock is recorded at the lower of cost and net realisable value. VAT The charity is not registered for VAT, so irrecoverable VAT is included in the related expenses. The subsidiary is VAT registered. 14
THE ENGLISH MUSIC FESTIVAL NOTES TO THE CONSOLIDATED ACCOUNTS FOR THE YEAR ENDED 30 JUNE 2025 Expenditure on Charitable Activities 2025 2024 Performances and productions Printing, media & advertising Recording costs Support costs (below) 48,982 14,765 37.453 95,380 45,628 10,680 23,708 84,962 196,580 164,978 Support costs Administration Office costs Bank charges Travelling Depreciation 73,544 15,677 767 5,392 57.842 12,401 1,218 12,964 537 95,380 84,962 EMPLOYEES AND TRUSTEES The trustees are considered to be the charity's key management personnel. Mrs Em Marshall-Luck was paid a salary of £43.173 {2024 £39,000} by the charity for her services to the charity, primarily as Director of the Festival. Mr Rupert Marshall-Luck was paid a salary of £7,329 (2024 £2,084) for administration work and website maintenance. One trustee was paid fees amounting in total lo £10,574 {2024: £8,821) by the charity and its subsidiary for performance fees, recording fees, editing fees. storage, royalties and disc cover artwork. Payments to trustees for services outside Ihe scope of their work as Trustees and without whom the Charity could not function, were aulhorised by the trustees and made with the approval of the Charity Commission. Travelling and accommodation expenses were either mel directly or reimbursed to trustees by the charity and ils subsidiary, amounting in total to £17,048 (2024: £24,190). TAXATION As a registered charity, there is no liability to taxation. 15
THE ENGLISH MUSIC FESTIVAL NOTES TO THE CONSOLIDATED ACCOUNTS FOR THE YEAR ENDED 30 JUNE 2025 TANGIBLE FIXED ASSETS Leasehold Property Equipment Total Group and holding charity: Cost brought forward Additions at cost At 30 June 2025 8,251 30.940 39,191 8,251 30,940 39.191 Depreciation brought foNard Charge for the year At 30 June 2025 8,251 30,939 39,190 8,251 30,939 39,190 Net book value: At 1 July 2024 At 30 June 2025 Holding charlty only: Cost brought forward Additions at cost At 30 June 2025 2,572 27,100 29,672 2,572 27,100 29,672 Depreciation brought forward Charge for the year AI 30 June 2025 2,572 27,099 29,671 2,572 27,099 29,671 Net book value.. At 1 July 2024 AI 30 June 2025 INVESTMENTS Group 2025 Group 2024 Charlty 2025 Charity 2024 Investment in subsidiary at cost The charity holds 100 /0 of the issued share capital of EMF Endeavours Limited {incorporated in England) whose business is publishing of books and recorded music. The summarised financial results of the charity and its subsidiary for the year ended 30 June 2025. are as follows: Parent EMF Charlty Endeavours Group Incoming resources Resources expended 207,647 (196,580) 161,570 (150,503} 46,077 { 46,0771 Net movement in funds 11,067 11,067 Funds brought fomard at 1 July 2024 Funds carried fOard at 30 June 2025 153,523 164,590 153,523 164,590 Net assets at 30 June 2025 164,590 164,590 16
THE ENGLISH MUSIC FESTIVAL NOTES TO THE CONSOLIDATED ACCOUNTS FOR THE YEAR ENDED 30 JUNE 2025 STOCKS Parent Charity 2025 Parent Charity 2024 Group 2025 Group 2024 The following are held by the trading subsidiary, EMF Endeavours Limiled". Stock of CDS and books for sale 2,700 2,700 2,700 2,700 DEBTORS Parent Charlty 2025 Parent Charity 2024 Group 2025 Group 2024 Tax recoverable (Gift Aid) Prepaid expenses VAT recoverable Subsidiary company 12,500 610 12,500 610 2,718 675 2,718 8,719 8.319 3,393 13,110 11,437 21,429 CREDITORS: Amounts falling due within one year Parent Charlty 2025 Parent Charity 2024 Group 2025 Group 2024 VAT (recoverable}Ipayable Accruals and deferred income 92 31,627 22,451 21,551 30,727 22,451 31,719 21,551 30,727 17