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2021-03-31-accounts

Company registration no: 07874922 Registered charity no: 1163725

The Paraorchestra and Friends

(A Company Limited by Guarantee)

Annual report and financial statements for the year ended 31 March 2021

The Paraorchestra and Friends

Contents

Page
Trustees and advisors 1
Report of the Trustees 2 – 9
Independent auditors’ report to the members 10 – 11
Statement of financial activities 12
Cash flow statement 13
Balance sheet 14
Notes to the financial statements 15 – 22

The Paraorchestra and Friends

Trustees and advisors

Trustees Giles Gibbons (Chair)
Clarence Adoo MBE
Mark Cosgrove
Jane Jones
Louise Mitchell
Anna Starkey
Company number 07874922
Registered charity number 1163725
Registered office Second Floor, The Station
Silver Street
Bristol
BS1 2AG
Auditors Saffery Champness LLP
St Catherine’s Court
Berkeley Place
Clifton
Bristol
BS8 1BQ
Principal officers and key personnel Chief Executive: Jonathan Harper
Artistic Director: Charles Hazlewood
Executive Producer: Hannah Williams Walton
Head of Communications: Laura Evans
Producer: Helen Edwards
Associate Music Director: Lloyd Coleman
Company Co-ordinator: Nicci Bailey
Orchestra Manager: Tom Wraith
Production Manager: Gemma Brooks
Fundraising Consultant: Lauren Scholey
Finance Support: Mimi Williams
Website: www.paraorchestra.com
Twitter/Instagram/Facebook: @paraorchestra;

1

The Paraorchestra and Friends

Report of the Trustees For the year ended 31 March 2021

EXECUTIVE SUMMARY 2020-21

The year was, of course, dominated by the impact of the Covid-19 pandemic. Lockdown in March 2020 brought an immediate halt to all our live and in-person work. We knew from the very beginning of this crisis that it was imperative that Paraorchestra did not hibernate through the pandemic. Hearing about the immense financial and societal challenges faced by our musicians made it essential that we reset and began our recovery quickly in order to protect both their livelihoods and our own achievements since the charity was set up.

We are immensely grateful to have had the support of our core funders, Arts Council England, The Mark Leonard Trust, Esmée Fairbairn Foundation and Bristol City Council. Some made vital additional emergency and one-off Covid support grants, and all were steadfastly committed to understanding our challenges and standing shoulder to shoulder with us. We also give thanks to the enormous commitment of the UK Government and Department of Digital, Culture, Media and Sport for their investment in creating The Cultural Recovery Fund, from which Paraorchestra received two grants in 2020-21. In addition, the year saw two further funding partners who committed large grants in support of our recovery, The Linbury Trust and, via their Culture Fund, Garfield Weston Foundation.

One of the starkest realities to date of the Covid-19 pandemic is that it has exacerbated the inequalities of living as a disabled person and working as a disabled artist. The pandemic has disproportionately hit the disabled community harder than any other with a disabled person 11x more likely to die from Covid-19 than someone who is not disabled. Disabled people have been left behind in terms of finances, employment and well-being.

In the immediate response to the lockdown of March 2020, and throughout 2020-21, we focussed our attention on supporting the freelance disabled artists that we work with, on containing our financial position, and on working in partnership with our sector allies to lobby government for increased support for disabled people. A culmination of this work was our partnership in autumn 2020 to create the ‘Seven Inclusive Principles’, a guide to support the whole sector, remind cultural organisations of their legal duties to support equalities, whilst offering examples of best practice and links to existing resources. Our Chief Executive was able to expand on this work to the Prime Minister and Secretary of State for Culture in an industry roundtable taking place in October 2020 organised by the cabinet office.

http://paraorchestra.com/seven-inclusive-principles-for-arts-cultural-organisations-working-safely-throughcovid-19/

Through thought and attention to our core mission and model, our outcomes for 2020-21 were wide-ranging. As we restarted artistic activity in the second half of the year, this included a shift into new sectors and new developmental programming streams. We have also taken time during this year to re-evaluate the impact that we want Paraorchestra to make in the world, and we have invested time in a new Vision for the next five years, that will see us create a new world for disabled artists and the cultural sector alike.

We have recognised that a return to ‘normal’ working will not take place and our working practice will have to accommodate the fluctuations of restrictions and the longer-term impact to the culture and creative sector.

We recognise that for disabled artists, the deep-rooted systemic barriers they already faced across healthcare, education and career development are growing larger as a result of the pandemic. Our role at Paraorchestra must be to reshape and remove the barriers they face within the cultural sector.

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The Paraorchestra and Friends

Report of the Trustees For the year ended 31 March 2021

ARTISTIC PROGRAMME 2020-21

The last year has been extraordinarily complex but, at each step of the way, we have not watered down our approach, ambition or our values. We have been able to navigate the pandemic’s impact and retain our strengths as we have built our model of recovery, restart and re-evaluate, based on four key areas.

  1. Flexible artistic commissioning across broadcast, recordings and live performance

  2. Artist Development and support

  3. Outdoor large-scale events for audiences not traditionally engaged with orchestral work

  4. Future ambitions and Vision

Flexible commissioning across broadcast, recordings and live performance

Our artistic programme was stopped in its tracks from March 2020 for six months. We then invested in equipment, professional expertise and additional staff to enable Covid-safe and inclusive in-person activity to take place. Our team worked hard to ensure each of our musicians had access to the person-centred support that they needed to feel safe to proceed with projects. We purposefully created opportunities for studio-based recordings for live stream, broadcast and album recording rather than live performance during this time - owing to the ongoing lockdowns and uncertainty. The highlights of the year included:

The project was originally commissioned for a live audience as part of Wales Millennium Centre’s Festival of Voice but ultimately restrictions meant the final work was filmed for broadcast-only. Due to lockdown conditions, rehearsals took place on the main stage of the Millennium Centre under strict covid regulations that were more akin to the film industry. Death Songbook was broadcast initially as part of a digital festival on BBC Cymru and BBC Radio 6 Music reaching over 45,000 people, with 28,000 tuning into the gig when it was broadcast in full on Radio 6Music. Songs used for promotional trailers reached our largest audience to date via YouTube.

The show was licensed by Sky Arts for broadcast in late November 2021. This is an excellent indicator of a new way of working for Paraorchestra, where projects can have a longer commercial life if we create and market it to the standard required by the broadcast industry.

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The Paraorchestra and Friends

Report of the Trustees For the year ended 31 March 2021

“Echo and the Bunnymen’s Killing Moon and David Bowie’s My Death were delivered with heartwrenching beauty. Anderson’s own The Next Life (written about the death of his mother) was as haunting as they come, while Suede B-side He’s Dead was delivered with Britpop swagger. Anderson leaned into the mic like he was at a sold-out Knebworth, rather than an empty theatre”

The Telegraph

Critically acclaimed artist and composer Hannah Peel was commissioned to collaborate with Paraorchestra to create a new album and show. Titled ‘The Unfolding’ this will be her first full follow-up album to the mercury music nominated record, Fir Wave. It builds on her unique style of electronicaled contemporary music and takes inspiration from nature, geology and climate change.

The work features Hannah and fourteen Paraorchestra players and was recorded with Charles Hazlewood over 6 days in March 2021. It will be released in physical formats and on streaming platforms by Real World Records in April 2022. This has been another step forward for the organisation. We have adapted and learnt about the recording industry model and have an opportunity to explore how a record release can benefit our income streams.

The piece premiered at St George’s Bristol in October 2021, co-promoted with Bristol Beacon. The show will then have its London premiere at the Barbican in May 2022 as part of a national tour.

As part of The Unfolding, we have commissioned Lloyd Coleman (Associate Music Director) to create a counterpoint to Hannah’s commission, which he has titled, Latent Bloom. This commission has given Lloyd the space to develop his own compositional style to incorporate elements of jazz and electronica.

Artist Development and support

Thanks to the ongoing support of our core funding partners, we committed to paying cancellation costs to our freelance musicians, artists and staff who lost work when the pandemic closed cultural events. This saw us pay out over £67,000 in fees directly to freelancers.

We were also immensely grateful to The Mark Leonard Trust for an additional grant in 2020 that kickstarted a bespoke emergency fund for disabled musicians, who were almost all unable to access national job support schemes setup either by the government or by sector bodies. We raised £40,000 in total and three application windows were provided during the second half of 2020-21, with 43 support grants distributed. The grants were a lifeline to many.

“After a frankly exhausting year of trying to make ends meet I just feel so burnt out and I really can’t thank you or Paraorchestra enough. This will give me some much-needed breathing space not only to pay the rent but also to sort out some health issues and get some physiotherapy, but actually have the time to think about some creative projects as well as track down some income which seems to be in short supply at the moment! It just means so much and I feel so, so lucky.”

We were also able to respond to discussions with our musicians which revealed that many of our musicians want to develop their own practice, but their lived experience as both a musician and disabled person often means that what they need is somewhat different to the regular routes of artist development available. We facilitated monthly networking sessions for our musicians to benefit from peer-to-peer discussion and held focus groups to test ideas for developing support in this area. Given that Covid-19 has disproportionately impacted on the health and working lives of disabled artists, this is a vital opportunity for the organisation to offer longer term employment, collaboration and learning opportunities as part of the recovery of the cultural sector.

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The Paraorchestra and Friends

Report of the Trustees For the year ended 31 March 2021

Most musicians reported that professional development opportunities had been either non-existent or limited. Some require producing support to help develop their ideas, some require pure fundraising help, whilst others are looking for skills development e.g. using technology for recording, or composition. Some simply cannot access the non-inclusive training that is on offer by other cross-artform artist development hubs. Many of the interventions required are small but would likely have a beneficial outcome in terms of the musicians’ careers as the sector recovers. Without them it is likely that, outside of working on Paraorchestra projects, they will fall further behind.

Paraorchestra created a five-week series of online workshops on sound recording, delivered virtually to 15 disabled musicians in Spring 2020. The workshops were facilitated by sound engineers Simon Honywill (Goldfrapp; The Nature of Why) and Peter Bosher.

An extract of the independent evaluation report of this training summarised this workshop:

“The Recording Workshop programme was well received by the participants, with positive outcomes for them, the trainers and the staff team, all gaining new knowledge and skills, improved confidence, and the ability to improve the quality of work in the future and open new doors to future work. Paraorchestra are a trusted training deliverer. Participants feel that they will get a quality product that is accessible and sympathetic to their needs. The organisation and its team are seen as friendly, and it’s a positive for the participants to be involved in a familiar group setting. Paraorchestra are seen as having ‘their finger on the pulse’ of what’s needed in the sector.”

Outdoor large-scale events for audiences not traditionally engaged with orchestral work

We also invested time in the creation of a new live performance event for 2021 to restart live music, titled SMOOSH!

We wanted to create a show that reflected Paraorchestra’s desire to produce large-scale live music events that can be enjoyed by people who wouldn’t traditionally attend orchestral music. In addition, it was important that we were able to respond to the challenges of the new post-Covid cultural sector – breathing new life into outdoor work in order that all audiences could enjoy live music safely. With movement and theatricality embedded at the heart of the project, the show builds upon a brass, wind and percussion heavy score by jazz composer and musician Emma-Jean Thackrey. Emma has created a DJ-esque soundtrack mixing instrumental takes of iconic artists such as Adele, Kate Bush, Massive Attack and Basement Jaxx.

In April and July 2021 we completed two R&Ds, with Charles directing the project alongside choregraphers Tom Jackson-Greaves and Beth Hinton-Lever.

Re-evaluating, planning future ambitions and vision

We spent significant time in 2020-21 developing our future thinking in preparation for the new post-Covid 19 cultural and social landscape. The Arts Council released ‘Let’s Create’, its 10 Year Plan to ensure that every person in the UK can experience and participate in quality cultural activity, and that the principles of inclusivity, ambition, quality and dynamism are at the heart of everything that all cultural organisations do. At Paraorchestra, we know that our work has indeed informed some of this thinking, and we are ready to set out our own 5-year vision; an ambitious vision to create a world that is not yet made, fuelled by those who don’t have a voice. More information on our future Vision can be found in our Future Plans section.

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The Paraorchestra and Friends

Report of the Trustees For the year ended 31 March 2021

SOCIAL IMPACT 2020-21

We reflect in our orchestra a vision of the most inclusive kind of society that we can inhabit. We are proud to offer a safe, ultra-creative space for musicians who identify as D/deaf, disabled and neurodiverse. We value the social model of disability as central to our ethos and we work to remove the barriers that are in existence in order that any musician can work at the highest possible level. We monitor and look to improve our gender balance, disability and BAME representation for each project. We will leave no one behind in the creation and presentation of new work and we will act as an exemplar in the sector to support their individuals needs in order to provide safe, Covid-secure working. We continue to be the only orchestra awarded ‘Outstanding’ by Arts Council England for our commitment to diversity through our work.

We now have 38 professional musicians we work with who identify as disabled. We are the only orchestral ensemble in the world pro-actively increasing its representation of disabled musicians and succeeding in extending the diverse mix of disabled musicians it supports. The ensemble now includes musicians who identify as disabled, D/deaf, visually impaired and neurodiverse. Intersectionality is important to our thinking, and we know that assumptions based on people self-identifying in one way only are outdated. With Paraorchestra, a number of our musicians self-identify across a range of protected characteristics incorporating race, sexuality and gender.

FINANCE AND FUNDING 2020-21

The last year has brought about a major shift in our financial model. The closure of the cultural sector had a clear impact on the balance of grant and public funding to concert fees and other commercial income. The pandemic brought a hard stop on all our planned artistic activity for the year, resulting in an overall reduction in turnover from a projected £1.28mil to £588k.

In previous years, just under 40% of our income was from grant making bodies and public funders but, in 2021, almost 70% of our income came from the ongoing commitments of these partners alongside the investment of central government money. That we have been able to recover and restart activity, support our musicians financially and still achieve a surplus is commendable.

Alongside the support of our core funders, we were able to mitigate our financial risk by:

This financial support underpinned our reserves for the year, and we enter 2021-22 with an unrestricted reserve of £136k (12 weeks of turnover) which will help protect us against future shocks. In addition, our cashflow has significantly strengthened year-on-year, with the strength of our fundraising message supporting an inflow of successful grants that will be allocated through the 2021-22 financial year.

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The Paraorchestra and Friends

Report of the Trustees For the year ended 31 March 2021

OPERATIONAL AND STAFFING 2020-21

As we approached the start of 2020-21 we had begun to see the results of our strong foundation building through fundraising. We were about to launch a new three-year plan for 2021 and we had started the recruitment process for much-needed operational staff to help manage and sustain our artistic growth. The pandemic halted this process. We were able to retain our core staff team that included a number of key figures who bring a wealth of experience, uphold the values of our organisation and who will provide continuity for the years ahead.

As part of our recovery, Charles Hazlewood’s commitment of time to the organisation has doubled. By scaling back all other orchestra work, Charles’ sole focus is on strengthening our organisation's creative ambitions in order that we achieve a successful step change in our artistic success.

We were also able to split the CEO/Executive Producer role and promote Hannah Williams Walton from Artistic Producer to Executive Producer, appointing an additional full-time Producer from January 2021 onwards. To strengthen our brand, profile and audience reach we have appointed our first Head of Communications, Laura Evans, who begins in post at the beginning of the 2021 financial year.

In addition, the role of our Fundraising Consultant has expanded, and now brings their extensive experience managing change, in order to help the CEO build and implement our transformation plans.

As the artistic programme has grown back in size and indeed increased in scope around areas such as artist development, we recognise that we are significantly understaffed in comparison to our ambition. It is an urgent priority to employ financial management expertise and bring in organisation-wide administrative support in 2021-22.

FUTURE PLANS

Looking ahead to 2021-22

We are looking forward to the return of live performance in 2021-22 with our now trademark wide ranging approach to performing in all kinds of places and spaces with the following shows.

Presented to 2,000 people from the area across two performances, SMOOSH! leaves a legacy of communal joy through the power of live music, building links between this community and our organisation. The show has allowed Paraorchestra to restart large-scale live music that is artistically ambitious, celebrates disabled artists, provides employment for 70 artists, musicians, creatives and production staff, and can be enjoyed by audiences safely and inclusively.

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The Paraorchestra and Friends

Report of the Trustees For the year ended 31 March 2021

We will also be continuing to find resources in support of our artist development work in 2021-22. As part of our Sky Arts partnership, Paraorchestra began a two-year agreement in April 2021 with Sky Arts that sees five professional disabled musicians from within the Paraorchestra cohort becoming Musicians in Residence. This unique opportunity provides a year paid contract, mentoring and support from Charles Hazlewood and the whole Paraorchestra team, and budget and time to develop their own creative practice in whatever form they wish it to take. Three musicians began their residency in April 2021 and will continue to March 2022, with a further two working with us from April 2022 to March 2023.

Finally, we will be developing the next major programme with Sky Arts, a six-episode documentary featuring Paraorchestra in the live music segments. The programme, titled The 21[st] Century Orchestra, will celebrate future thinking in orchestras and music making.

Vision to 2027

We know that we offer something unique and relevant in the music sector, particularly given the lack of progress for disability in the cultural sector in comparison to other sector shifts. We now have the confidence to say that no other music or orchestral organisation is able to work with the level of creativity or innovation that we do, and that no other organisation is better placed to support a talent pool of disabled musicians to become artists and future leaders.

The next 12 months provide an extraordinary moment of possibility for Paraorchestra as the cultural sector rebuilds and re-opens, and works towards a new round of funding through Arts Council England’s National Portfolio approach. We have spent the last nine months as a team, with our artists and with our trustees exploring the change we want to make in the world for the longer term.

By 2027, our vision is that Paraorchestra will have created a new ecology for the cultural sector, providing a place where music, innovation and inclusive practice contributes to a more representative, relevant society. We want to create a world that is not yet made, fuelled by those who don’t have a voice. This will be delivered via:

Our artistic work will be created in collaboration with other art forms, for and performed across a rich multiplicity of places and spaces, from urban to rural areas, for theatres, concert halls and festivals, site-specific locations and in partnership directly with communities who do not traditionally engage with orchestral work. Work will embrace broadcast and streaming platforms. We will not be limited by borders and will forge partnerships worldwide.

We will expand our talent development programme to offer multiple entry points and outcomes in order that we go beyond ‘levelling the playing field’ and give those that identify as disabled an advantage for their career development.

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The Paraorchestra and Friends

Report of the Trustees For the year ended 31 March 2021

Paraorchestra will work for D/deaf, disabled and neurodiverse people, and promote shared understanding between disabled and non-disabled artists, collaborators and musicians. We will deepen this engagement by targeting musicians and artists at the intersection between disability and all other communities that lack a voice in the sector.

Our audience will be as diverse, representative and engaged as our orchestra. We will build our brand and profile so that audiences and stakeholders are in no doubt as to the impact we make, artistically and socially.

This vision will be underpinned by a dynamic organisational model with a highly valued team of staff and freelancers. Key principles of quality, equality, environmental responsibility and learning will be at the heart of decision making.

We are planning ambitiously and recognise that our aspirations for change will take time and resources to implement. We believe that achieving our goals will require a step change in our business model and in how we measure and share our impact. We are working on the assumption that taking this vision forward will need a year of transition in 2022, pulling together our action plans, agreeing partnerships and securing the funding required.

Approved by the Trustees on Friday 28 January 2022, and signed on their behalf by:

Giles Gibbons

Chairman

Board of Trustees

9

The Paraorchestra and Friends

Independent examiners’ report to the members For the year ended 31 March 2021

Independent examiner’s report to the trustees of The Paraorchestra and Friends (‘the Company’)

I report to the charity trustees on my examination of the accounts of the Company for the year ended 31 March 2021.

Respective responsibilities of trustees and examiner

As the charity’s trustees of the Company (and also its directors for the purposes of company law) you are responsible for the preparation of the accounts in accordance with the requirements of the Companies Act 2006 (‘the 2006 Act’).

Having satisfied myself that the accounts of the Company are not required to be audited under Part 16 of the 2006 Act and are eligible for independent examination, I report in respect of my examination of your charity’s accounts as carried out under section 145 of the Charities Act 2011 (‘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.

Basis of independent examiner’s report

My examination was carried out in accordance with the general Directions given by the Charity Commission. An examination includes a review of the accounting records kept by the charity 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 you as 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 and Wales which is one of the listed bodies.

I have completed my examination. I confirm that no matters have come to my attention in connection with the examination giving me cause to believe:

  1. accounting records were not kept in respect of the Company as required by section 386 of the 2006 Act; or

  2. the accounts do not accord with those records; or

  3. the accounts do not comply with the accounting requirements of section 396 of the 2006 Act 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; 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.

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.

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The Paraorchestra and Friends

Independent examiners’ report to the members For the year ended 31 March 2021

……………………………………………………..…………

Michael Strong For and on behalf of Saffery Champness LLP Chartered Accountants Statutory Auditors

St Catherine’s Court Berkeley Place Clifton Bristol BS8 1BQ

28 January 2022

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The Paraorchestra and Friends

Statement of financial activities (including income and expenditure account) For the year ended 31 March 2021

Notes
Income from:
Charitable activities
Trusts and Foundations
Donations and legacies
Grants
Government grants (Job
Retention Scheme)
Other
Total
Expenditure on:
Charitable activities
2
Other
3
Total
Net income/(expenditure)
Transfers between funds
Net movement in funds
Total funds brought forward
Total funds carried forward		 Unrestricted
funds
£
76,194
125,213
2,104
345,982
13,315
24,820
587,628
197,653
318,193
515,846
71,782
18,750
90,532
45,857
136,389		 Restricted
funds
£
-
-
-
-
-
-
-
-
-
-
-
(18,750)
(18,750)
41,667
22,917		 2021
Total funds
£
76,194
125,213
2,104
345,982
13,315
24,820
587,628
197,653
318,193
515,846
71,782
-
71,782
87,524
159,306		 2020
Total funds
As restated
£
283,173
126,326
-
249,000
-
51
658,550
327,010
306,603
633,613
24,937
-
24,937
62,587
87,524

All of the above results derive from continuing activities of the Charity.

The Statement of Financial Activities includes all gains and losses recognised in the period.

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The Paraorchestra and Friends

Cash flow statement For the year ended 31 March 2021

2021 2020
Cash flows from operating activities
£		 £
Net income 71,782 24,937
Depreciation 3,151 1,729
Change in trade and other debtors (38,986) (27,957)
Change in trade and other creditors 279,203 27,287
Net cash flow generated from operating activities 315,150 25,996
Cash flows from investing activities
Purchase of tangible fixed assets (6,040) (1,291)
Net cash flows from investing activities (6,040) (1,291)
Cash flows from financing activities
Decrease in long term creditors - -
Net cash flows from financing activities - -
Cash at bank and in hand at beginning of the year 91,054 66,348
Cash at bank and in hand at end of the year 400,164 91,054
Analysis of changes in net funds
Balance Balance
1 April 2020
 Cash flows 31 March 2021
£ £ £
Cash at bank and in hand
91,054		 309,110 400,164

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The Paraorchestra and Friends

Balance sheet

As at 31 March 2021

Notes
Fixed assets:
Tangible assets
7
Current assets:
Debtors
8
Cash at bank and in hand
Liabilities:
Creditors: amounts falling due
within one year
9
Net current assets
Total net assets
The funds of the charity:
Restricted funds
Unrestricted funds
Total charity funds
10,11		 2021

£
6,400
6,400
119,511
400,164
519,675
(366,769)
152,906
159,306
22,917
136,389
159,306		 2020
£
3,511
3,511
80,525
91,054
171,579
(87,566)
84,013
87,524
41,667
45,857
87,524

For the financial year in question the company was entitled to exemption under section 477 of the Companies Act 2006 relating to small companies.

The members have not required the company to obtain an audit of its accounts for the year in question in accordance with section 476 Companies Act 2006.

The directors acknowledge their responsibility for complying with the requirements of the Companies Act 2006 with respect to accounting records and the preparation of accounts.

These accounts have been prepared in accordance with the provisions applicable to companies subject to the small companies’ regime.

Approved by the Trustees for issue on Friday 28 January 2022 and signed on their behalf by:

Giles Gibbons Chair Board of Trustees

Company registration no. 07874922

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Notes to the financial statements For the year ended 31 March 2021

The Paraorchestra and Friends

1 Accounting policies

1.1 Company information

The Paraorchestra and Friends is a private charitable company limited by guarantee incorporated in England and Wales, company number 07874922. The registered office is The Station, Silver Street, Bristol, BS1 2AG. The charity, through grant money and performance income, stages performances for an ensemble of professional disabled and non-disabled musicians.

1.2

Basis of preparation

The financial statements have been prepared in accordance with the Statement of Recommended Practice: Accounting and Reporting by Charities preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102) issued in October 2019 and the Financial Reporting Standard applicable in the United Kingdom and Republic of Ireland (FRS 102) and the Charities Act 2011 and UK Generally Accepted Practice as it applies from 1 January 2019.

The charity constitutes a public benefit entity as defined under FRS 102.

These financial statements have been prepared under the historical cost convention. The principal accounting policies adopted are set out below.

There are no material uncertainties about the charity’s ability to continue as a going concern.

1.3 Incoming resources

Donations are credited on a receivable basis unless related to a specific period, in which case they are deferred until that period.

All other income is recognised once the charity has entitlement to the resources, it is probable the resources will be received and the monetary value of the incoming resources can be measured with sufficient reliability.

1.4

Resources expended

Liabilities are recognised as resources expended as soon as there is a legal or constructive obligation committing the charity to the expenditure. All expenditure is accounted for on an accruals basis, including irrecoverable VAT, and has been classified under headings that aggregate all costs related to the category.

Governance costs include those incurred with constitutional and statutory requirements.

1.5 Cash and cash equivalents

Cash and cash equivalents are basic financial assets and include cash in hand, deposits held at call with banks, bank overdrafts or other short-term liquid investments with original maturities of three months or less.

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Notes to the financial statements For the year ended 31 March 2021

The Paraorchestra and Friends

1.6 Financial instruments

The company has elected to apply the provisions of Section 11 ‘Basic Financial Instruments’ and Section 12 ‘Other Financial Instruments Issues’ of FRS 102 to all of its financial instruments.

Financial instruments are recognised in the company's statement of financial position when the company becomes party to the contractual provisions of the instrument.

Financial assets and liabilities are offset, with the net amounts presented in the financial statements, when there is a legally enforceable right to set off the recognised amounts and there is an intention to settle on a net basis or to realise the asset and settle the liability simultaneously.

Basic financial assets

Basic financial assets, which includes other debtors, are initially measured at transaction price including transaction costs and are subsequently carried at amortised cost using the effective interest method unless the arrangement constitutes a financing transaction, where the transaction is measured at the present value of the future receipts discounted at a market rate of interest.

Basic financial liabilities

Basic financial liabilities, including trade creditors, are initially recognised at transaction price unless the arrangement constitutes a financing transaction, where the debt instrument is measured at the present value of the future receipts discounted at a market rate of interest. Financial liabilities classified as payable within one year are not amortised. Debt instruments are subsequently carried at amortised cost, using the effective interest rate method.

Trade creditors are obligations to pay for goods or services that have been acquired in the ordinary course of business from suppliers. Accounts payable are classified as 'creditors: amounts falling due within one year' if payment is due within one year or less. If not, they are presented as 'creditors: amounts falling due after more than one year'. Trade creditors are recognised initially at transaction price and subsequently measured at amortised cost using the effective interest method.

1.7 Funds structure

Unrestricted funds comprise those funds which the Trustees are free to use for any purpose in furtherance of the charitable objects.

Transfer out of restricted funds was made in the year. Funds initially allocated here were deemed to no longer hold any restriction on use.

1.8 Tangible fixed assets and depreciation

Tangible fixed assets are stated at cost less depreciation.

Depreciation is provided on these assets at annual rates calculated to write off the cost, less estimated residual value, of each asset over its expected useful life as follows:

Office equipment 33% straight line per annum

16

The Paraorchestra and Friends

Notes to the financial statements For the year ended 31 March 2021

2
Charitable activities
Musician and performer fees
Technicians and support fees
Equipment hire
Travel and subsistence costs
Other direct costs
Orchestra tax relief
Musicians Support fund
Cancellation costs
3
Other costs
Printing, postage and stationery
Rent
Insurance
IT costs
Travel and subsistence
Bank charges
Sundry expenses
Depreciation
Governance costs (note 4)
Management and staffing (note 5)
Marketing, digital and PR		 2021
£
75,503
23,672
10,053
20,116
33,246
(25,000)
30,963
29,100
197,653
2021
£
218
15,414
1,135
6,089
2,140
573
625
3,152
13,038
267,608
8,201
318,193		 2020
£
195,150
51,123
68,523
76,887
61,428
(126,101)
-
-
327,010
2020
£
1,485
5,235
1,540
3,872
17,258
544
1,103
1,729
14,158
246,991
12,688
306,603

17

The Paraorchestra and Friends

Notes to the financial statements For the year ended 31 March 2021

4. Governance costs

Accountancy
Bookkeeping
Independent examination
Legal and professional		 2021
£
1,820
7,813
1,550
1,855
13,038		 2020
£
1,420
10,750
1,500
488
14,158

5 Staff numbers and costs

The average number of persons employed by the company during the period was 7 (2020: 6).

The aggregate payroll costs were as follows:

Wages and salaries
Social security costs
Pensions
Other staff costs		 2021
£
253,300
8,755
4,195
1,358
267,608		 2020
£
233,178
6,168
6,485
1,160
246,991

During the period, the Trustees were not paid any remuneration or reimbursed for expenses and no Trustees made donations to the charity.

Key management remuneration in total for the year was £133,530 (2020: £98,487).

There were no employees whose emoluments were in excess of £60,000 per annum (2020: no employees).

6 Taxation

None of the income received by the charity is subject to UK Corporation Tax. As such, there is no tax arising on the movement in funds during the year.

18

The Paraorchestra and Friends

Notes to the financial statements For the year ended 31 March 2021

7 Tangible fixed assets

8

Cost
At 1 April 2020
Additions
At 31 March 2021
Depreciation
At 1 April 2020
Charge for the year
At 31 March 2021
Net book value
As at 31 March 2021
As at 31 March 2020
Debtors		 Office and IT
equipment
£
8,983
6,040
15,023
5,472
3,151
8,623
6,400
3,511
Other debtors
VAT
Orchestra tax relief		 2021
£
18,750
15,761
85,000
119,511		 2020
£
1,374
19,151
60,000
80,525

19

The Paraorchestra and Friends

Notes to the financial statements For the year ended 31 March 2021

9 Creditors: amounts falling due within one year

Trade creditors
Other creditors
Accruals and deferred income
Payroll
Analysis of charitable funds
Balance
1 April 2020
£
Unrestricted funds
45,857
Restricted funds
41,667
87,524		 Incoming
resources

£

587,628

-

587,628		 Resources
expended

£

(515,846)

-

(515,846)		 2021
£
94,130
259,784
4,453
8,402
366,769
Transfers


18,750
(18,750)
-		 2020
£
30,098
41,813
9,715
5,940
87,566
Balance
31 March
2021
£
136,389
22,917
159,306

10 Analysis of charitable funds

11 Analysis of net assets between funds

Fixed assets
Debtors
Cash at bank and in hand
Creditors		 Unrestricted
funds
£
6,400
119,511
377,247
(366,769)
136,389		 Restricted
funds
£
-
-
22,917
-
22,917		 Total
£
6,400
119,511
400,164
(366,769)
159,306

12 Financial commitments

At the year end, contractual commitments totalling £nil were in place in respect of future building improvements work to be undertaken.

20

Notes to the financial statements For the year ended 31 March 2021

The Paraorchestra and Friends

13 Operating leases

The operating lease payments represent contract hire agreements for assets. At the reporting period end date the charity had outstanding commitments for future minimum lease payments under non-cancellable operating leases, which fall due as follows:

Within one year
Between two and five years		 2021
£
7,090
-
7,090		 2020
£
7,975
3,546
11,520

14 Comparative statement of financial activities

Income from:
Charitable activities
Trusts and Foundations
Donations and legacies
Grants
Other
Total
Expenditure on:
Charitable activities
Other
Total
Net income/(expenditure)
Transfers between funds
Net movement in funds
Total funds brought forward
Total funds carried forward		 Unrestricted
funds
As restated
£
283,173
107,576
-
249,000
51
639,800
327,010
306,603
633,613
6,187
-
6,187
39,670
45,857		 Restricted
funds
As restated
£
-
18,750
-
-
18,750
-
-
-
18,750
-
18,750
22,917
41,667		 2020
Total funds
As restated
£
283,173
126,326
-
249,000
51
658,550
327,010
306,603
633,613
24,937
-
24,937
62,587
87,524

21

The Paraorchestra and Friends

Notes to the financial statements For the year ended 31 March 2021

15 Prior year adjustment

The prior year Statement of Financial Position has been restated due to reclassification of income between categories. Opening reserves as at 1 April 2020 are not impacted.

22