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 lea￿Tred 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 fO￿ard 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