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← Open Up Music

2024-08-31-accounts

Opening up music to young disabled musicians Annual report and fnancial statements For the year ending 31 August 2024

Contents
About Open Up Music 4
Our activities and programmes 5
Report from the Chair and CEO 6
Our year in young musicians’ words 8
Open Orchestras: Achievements and performance 10
Open Orchestras: Introduction 12
2023-24 musicians’ stories 13
2023-24 at a glance 14
2023-24 in perspective 16
National Open Youth Orchestra:
Achievements and performance 18
National Open Youth Orchestra: Introduction 20
2023-24 musicians’ stories 21
2023-24 at a glance 22
2023-24 in perspective 24
2023-24 Research and development 26

2023-24 Clarion		 26
2023-24 AMP Tookit 28

2

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Financial performance and results 30
Financial review 33
Operating reserve policy 34
Report of the trustees 35
Independent examiner’s report 36
Statement of fnancial activities 38
Balance sheet 39
Statement of cash fows 40
Notes to the fnancial statements 41
Structure, governance and management 54
Reference and administrative information 56
Charity constitution 56
Details of governing document 56
Trustee recruitment, appointment, induction and training 56
Organisational structure 57
Our patron and Board of trustees 58
Our team, networks and partners 61
How the charity makes decisions and manages risk 62
Arrangements for setting pay, Governance Code, Public Beneft 63

Our funders

64

3

About Open Up Music

Our mission is to open up music to young disabled musicians.

Purpose

The objects of the Charity are to help young disabled people, who are based in the United Kingdom, by developing and providing:

Impact

Our impact is evaluated against three measurable outcomes:

Our values guide everything we do. They were developed in consultation with young musicians in our programmes.

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Diversity

We bring about greater diversity by driving musical inclusion and disabled representation

Creativity

We engage audiences through exciting music, made and shared in creative ways

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Community

We build communities of individuals and organisations to make positive change happen

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Infuence

We work alongside young disabled musicians to infuence and challenge preconceptions

4

Our activities

Young disabled people are for the most part excluded from ensemble music making: in schools, among orchestral players, composers, staff teams and audiences. Since 2007, our awardwinning programmes have created new opportunities for them to be musicians, making their own music, not just listening to the music of others.

Open Up Music uses the power of the orchestra to bring about lasting change: every time an orchestra is created, it establishes a framework to engage young people in music-making year after year, something no short-term music project could achieve.

We also believe in collaboration to accelerate change. Partners who deliver our programmes not only make it possible to reach more young disabled people, they also become meaningful, invested advocates.

Our programmes

Open Orchestras helps special schools set up accessible orchestras, so that hundreds of young disabled people get frst access to music education every year.

openorchestras.org

The National Open Youth Orchestra (NOYO) is the world’s frst disabled-led national youth orchestra. It pioneers an inclusive orchestra model where talented 11-25 yearold disabled and nondisabled musicians rehearse and perform together.

We’ve also developed Clarion[®] . Available on iPad and PC, it’s an innovative accessible instrument that can be played expressively with any part of the body, including eye movement.

theclarion.uk

noyo.org.uk

5

After a transformative year, it is a pleasure to refect on how our programmes have continued to expand, opening up music to many more young disabled musicians and advancing inclusive music-making across England and Wales.

2023 was marked by the exciting launch of the National Open Youth Orchestra (NOYO) in Cardiff, in partnership with the Royal Welsh College of Music and Drama and the BBC National Orchestra of Wales. This brought our number of NOYO musicians to 45 across fve regions— Bristol, Bournemouth, London, Cardiff, and Birmingham. We further developed NOYO’s delivery model, formalising the creation of Regional NOYO Ensembles

in collaboration with our dedicated partners: Barbican, B:Music, Bournemouth Symphony Orchestra, Bristol Beacon, Guildhall School of Music & Drama, Midlands Arts Centre, and Services For Education. Notably, over 80% of NOYO musicians identify as disabled, affrming our commitment to creating a disabledled ensemble that is also inclusive of nondisabled musicians.

Live performance was a powerful theme this year, with NOYO musicians performing beautifully to a combined audience of over 1,000 in London, Bristol, Poole, and Birmingham. Each concert was met with warmth and enthusiasm, while Cardiff held an exceptional sharing event to celebrate its inaugural year.

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Our Open Orchestras programme also saw unprecedented growth, with 60 orchestras reaching over 600 young disabled people. Through partnerships with 35 Music Education Hubs and arts organisations, we expanded signifcantly in the North West, North East, and Wales.

Not only are we supporting young disabled musicians, but 35 Open Orchestras operated in Priority Places and/or Levelling Up areas, enabling greater musical access for young disabled people facing economic challenges.

We created beautiful music. The National Open Youth Orchestra premiered three pieces about themes close to their hearts: Element s by Alexandra Hamilton-Ayres about climate emergency (commissioned in 2022), Wittgenstein Chorale by Ben Lunn (commissioned in 2018), which celebrates a disabled pianist, and Soaring Through Sparks - the world’s frst-ever Clarion concerto. We also worked with Kate Whitley to release a new version of Falling for Open Orchestras.

This year, we took bold steps to make our accessible musical instrument, the Clarion, available to other arts organisations. As part of this commitment, we continued working with ABRSM on piloting Open Music Assessments, marking the Clarion as the frst digital instrument they’ve assessed.

Additionally, our new partnership with BBC Ten Pieces has paved the way for young musicians to engage with compositions such as Laura Shigihara’s Grasswalk and Judith Weir’s Magic , further enriching our resources.

To ensure young people remain central to our strategic direction, we convened a Future Planning Group composed of young disabled musicians and Board members. This group has been instrumental in shaping our goals and actions for the future.

In line with this, we initiated testing of the Accessible Musical Pathways (AMP) Toolkit—a three-year project designed to share our experience in creating accessible ensembles with mainstream youth ensembles. The AMP Toolkit has already been piloted with esteemed groups like Bristol Youth Orchestra, Bournemouth Symphony Orchestra, London Schools Symphony Orchestra, and the National Children’s Orchestra, among others.

Altogether, this was a year of growth, inclusion, and preparation as we continue to push boundaries in making music truly open to everyone. None of this would have been possible without the unwavering support of our partners and our generous funders, to whom we extend our deepest thanks. Together with young musicians, our dedicated team, and supportive Board, we look forward with optimism and purpose to the opportunities ahead.

Judith Webster Chair

Barry Farrimond-Chuong MBE CEO

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I have loved being in orchestra. I like the songs we have played - they have been cool songs. I loved performing in front of other people. That was the best thing.

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Although this student doesn’t often vocalise, post-performance, he did say that the experience was ‘sick’, which I take as a win.

8

This is my frst time playing with an ensemble, and I think I’ve learned how Playing in my frst concerts to play with others quite was amazing, and I learned quickly. something every time. ~ P| I was fnally able to play I am proud I took part this one piece I really liked. in the Bournemouth I’d been practicing it for Symphony from Scratch ages, but couldn’t quite project, and in general that crack this one part of it. It I have learnt new, diffcult was nice to be able to play music. it in an environment where I didn’t have to worry about someone judging me if I tripped up.

My favourite moment of the year was the residential because it felt like we could play together even outside of NOYO. It was also a lot of fun and quite funny.

Charlie (fellow NOYO musician) really impressed me this year. With exposed percussion lines in several of the pieces, he did a great job from when we frst came together at the residental through until all of the concert performances.

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O-: EN ORCHESTRAS 2023-24 Achievements and performance 10-11

(i

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WINNER 2019
Outstanding
SEND Resource
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Open Orchestras

Initially piloted in Bristol in 2013-15, Open Orchestras was developed to respond to the distinct lack of ensemble music opportunities in special schools.

It is a complete programme that for a subsidised annual subscription, provides special schools with everything they need to set up and run their own inclusive orchestra: training and mentoring, teaching resources, evaluation, community support, Clarion[®] - which is played alongside other instruments in the orchestra, and adapted music that every participant can play, including those facing the greatest barriers to participation.

Young people are encouraged to play independently and expressively, with school staff and Music Leaders assigned by Music Hubs working in tandem to build the orchestra around participants’ personalities and abilities.

Open Orchestras is both adaptive and endlessly creative: music comes in “building blocks” that can be arranged fexibly according to participants’ playing styles, so no two orchestras will play our repertoire the same way!

By the end of the frst year, most Open Orchestras will be ready to share their music. That frst performance is often a revelation.

“Open Orchestras has arguably changed the face of music making for young disabled people.” - Dr Marina Gall

Dr Marina Gall and colleagues’ research within the project “Getting Things Changed”, outlined in the Bristol University Policy Report Opening up music making for young people with complex and multiple needs (published in May 2018), recommended that Open Orchestras should be a central part of the school curriculum in special schools.

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2023-24 musicians’ stories

Harry had such an amazing time. It was his frst night away without us ever. Thank you Alfreton Park School for making this possible. Parent feedback

In March, Alfreton Park Open Orchestra took their band on tour! Travelling from Derbyshire, they stayed at a hotel overnight before performing at ‘Together for Music’ at Bristol Beacon. Watch them on stage in this short clip about the event, an inaugural inclusive music festival. A huge round of applause to all the musicians who wowed the audience, and their awesome Orchestra Leaders Ruth Woodhouse and Ed Acon. We loved hearing tips from their epic musical adventure at our 2024 Summer Conference.

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60 Orchestras 31 Music Hubs 2

600[+ ][young] participants

1/3

are now 143 Clarion players

performances

watched by 625 guests and 885 young disabled people

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Musicians feel...

good at music (86%)

confdent playing their instrument (88%)

roud to be in the orchestra (88%)

hey have been learning new things (94%)

hey are getting better at playing (90%)

they want to continue to play music when they’re older (73%)

15

2023-24 in perspective

Open Orchestras reached the landmark of 60 orchestras this year, its highest ever total. This cemented the programme’s unique reach within the music education sector as the largest community of inclusive ensembles in the UK, breaking down barriers to music for young disabled students.

While many Music Hubs exercised caution during a retendering process that reduced their number from 116 to 43, more organisations than ever invested in Open Orchestras, boosting our community from 53 to 60 orchestras.

This growing confdence refects the quality of our online training, mentoring and music resources - kept relevant thanks to ongoing input from our community.

Newcomers to the programme shared that our “Induction Training” provided them with a clear foundation for planning and approaching their sessions. The course continues to effectively

communicate the philosophy behind the programme and successfully supports educators with varying levels of musical experience:

“This is a valuable resource for me, as I am not a confdent music teacher. I can teach the basics of music for my class but I cannot play an instrument, cannot read music and more in-depth concepts linked to music.”

By the end of the year, 100% of practitioners reported that they would recommend Open Orchestras. Sharing concerns, successes, and ideas helped Orchestra Leaders remain resilient, with our learning community recognised as essential to musical progression.

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“I fnd that engaging with the community of practice enables new ideas to be presented to us - and this is important when feeling that we may have exhausted other avenues.”

“It has helped realign the school’s and my own ideas on what children with SEND can achieve within music.”

Many teachers reported using the Open Orchestras ethos—more child-centred and fexible—in everyday class teaching as well, with benefts reaching into other areas of school life. The programme also opened the door to collaboration with other schools in their area and created opportunities to get involved in events within their Music Hubs.

In June, we delivered our third annual Summer Conference with a live takeover by an Open Orchestra, broadcasting from St Rose’s School in Stroud. Students shared flms of their musical performances and answered questions, cheered on by an audience of other Open Orchestras musicians and their teachers from across the country. Watch St Rose’s musicians perform their own wonderful version of Florence Price’s Juba Dance.

Throughout the year, Open Orchestras showcased their work in a variety of ways, from the classroom to the big stage.

In March, Open Orchestras from Derby and Stroud performed on the main stage at the newly opened Bristol Beacon to great applause, taking part in ‘Together for Music’, the UK’s frst inclusive music festival for young people.

A fantastic flm about St Andrews Academy Open Orchestra was produced as part of the MEHEM/Uprising! project in the East Midlands. It shares their learnings, encouraging others to adopt more inclusive music-making. Middlesbrough Open Orchestra wrote and performed a live soundtrack to a specially commissioned flm.

Watch their exciting ‘Journey through a changing world’ performance. You can also watch the brilliant Ash Field Open Orchestra video round up of their year, and meet the Ty Gwyn Open Orchestra, whose video details their awesome approach to music-making.

A groundbreaking frst this year, Middlesbrough Open Orchestra musicians worked with a composer to create new music for the programme. Kate Whitley adapted her beautiful composition Falling as this year’s new piece, codelivering music making workshops so that Open Orchestras musicians could help shape and develop it. Together, they ended up creating a whole new section!

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National Open Youth Orchestra 2023-24 Achievements and performance 18-19

National Open Youth Orchestra ',[Iiimii,Iiii', I'i,,I lJhl::.:i.Lll I'll￿1¥ .aJA, •oJ•

National Open Youth Orchestra

Since its launch in 2018 as the world’s frst disabled-led national youth ensemble, the National Open Youth Orchestra (NOYO) and its partners have successfully established a programme for young disabled musicians to develop their skills at an advanced level, offering accessible ensemble practice and performance opportunities in fve regions.

The orchestra has pushed the boundaries of contemporary classical music, inspiring composers and audiences with its innovative blend of acoustic and electronic instruments. This includes the Clarion - an accessible instrument which musicians play on iPads or Windows devices, some using head movement.

NOYO musicians, over 80% of whom identify as disabled, perform original music commissioned from cutting-edge composers, alongside new arrangements of well-known pieces reworked for this more diverse group of musicians. They proudly guide the creative process:

“I like that we get to be able to contribute to the music; it feels like everyone is part of one big team.”

- Balpreet, NOYO electronic guitarist

We restructured our programme this year by holding public auditions for Regional NOYO Ensembles, rather than for the National Open Youth Orchestra itself. This will provide a more accessible experience from 2024-25, giving musicians more time to grow their confdence and ensemble skills in a regional setting. The National Open Youth Orchestra itself will be a more agile ensemble, with up to 20 NOYO musicians selected annually from the Regional NOYO Ensembles through internal auditions.

Regional NOYO Ensembles are led by Bristol Beacon in Bristol; Guildhall School of Music & Drama in London; Bournemouth Symphony Orchestra in Bournemouth; Midlands Arts Centre, B:Music, and Services For Education in Birmingham; Royal Welsh College of Music & Drama and BBC National Orchestra of Wales in Cardiff; with the Barbican as a national partner.

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2023-24 musicians’ stories

I started music lessons at the age of six. Playing became progressively more diffcult until I was introduced to the Clarion through Open Orchestras, and it changed my access to music. Through NOYO, I discovered head movement as a way to play, and my playing improved rapidly.

He has played at industry events with ABRSM and the HarrisonParrot Foundation, and promoted inclusion in the media. This summer, he joined a Royal Northern Sinfonia RNS Move s workshop. As he leaves NOYO, he will join the Alton Concert Orchestra and has also formed “The Clarion trio” with two NOYO musicians.

- Alessandro, Clarion player

Having joined NOYO in 2019, Alessandro ended this year with a Royal Philharmonic Society “Young Artist Award” nomination. As the National Open Youth Orchestra’s Clarion soloist, he has inspired composers to write for this new instrument and delivered mesmerising performances.

If you love to play music like me, then you can audition for NOYO. Don’t let disability stop you. - Ben , Seaboard RISE player

Listen to Ben on this RNIB Connect Podcast. A brilliant musician who has been playing instruments since the age of two, Ben couldn’t apply to traditional orchestras because he has never taken graded exams. His mum, Claire, also shares how his being “very chatty” made it hard to ft in and discusses how adjustments can enable visually impaired musicians to be part of an ensemble.

Ben has now joined Bristol Beacon as an apprentice mentor, supporting other young disabled musicians.

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2023-24 at a glance

Regional NOYO Ensembles

5

Bristol, Birmingham, Bournemouth, Cardiff and London

45[NOYO musicians]

23 National Open Youth Orchestra performers new musicians 15

4

1

National Open Youth Orchestra concerts

Milton Court Concert Hall, London Sunday 21 April 2024

Bristol Beacon, Bristol Saturday 4 May 2024

Lighthouse, Poole Saturday 18 May 2024

Birmingham Town Hall Sunday 2 June 2024

Regional NOYO Ensemble showcase

Royal Welsh College of Music & Drama, Cardiff Saturday 29 June 2024

Instruments played

National Open Youth Orchestra premieres

Other music performed

New arrangements of:

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NOYO Collective

NOYO musicians chose this name to describe key areas they infuence, from decision-making to creating content for our communication channels.

50[rehearsals ]

8 social events - we went to 5 concerts to watch professional musicians perform

2,698 plays of 25 video resources created for musicians to develop their skills

By the end of the year... 89%

of musicians demonstrated improved or excellent musical skills

80%

of musicians demonstrated improved or excellent ensemble playing skills

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2023-24 in perspective

It’s been a transformative year. The National Open Youth Orchestra completed its second concert series, and we launched a new region in Cardiff—the culmination of three years of preparation with the Royal Welsh College of Music & Drama and BBC National Orchestra of Wales. Behind the scenes, we also restructured our programme, formally introducing Regional NOYO Ensembles, which, as of September 2024, run alongside the National Open Youth Orchestra.

“I have played my frst ever concerts this year and really loved them! I was also on BBC Radio 3 and participated in an online webinar about how to make music inclusive with lots of Music Services. I have also enjoyed being part of the social media team and making videos.” - Jonah, NOYO Trombone player

Throughout this action-packed year, NOYO musicians shone both on and off-stage as powerful ambassadors for musical inclusion.

Ahead of performances, we connected with Music Hubs, special schools, and organisations working with disabled people and other under-represented groups to offer tickets. We were proud to welcome a diverse audience at our relaxed performances in London, Bristol, Poole, and Birmingham.

Over 1,000 concert-goers across the UK came to ‘Feel the Music’, the theme of the National Open Youth Orchestra tour.

Highlights for musicians and audiences alike included three world premieres: Elements by Alexandra Hamilton-Ayres,

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Wittgenstein’s Chorale by Ben Lunn and Soaring Through Sparks by Michael Betteridge, which is also the world’s frst Clarion concerto.

“The whole performance was wonderful. The standard was exceptionally high, some instruments were entirely new to me and the music conveyed so many emotions beautifully. I hope that the performers were happy with the long standing ovation! The whole audience rose as one to express their thanks, appreciation, enjoyment and amazement.”

ABRSM events, helping to deepen our connections with funders and industry. The National Open Youth Orchestra has also partnered with the Royal Opera House Overture programme.

Our work to build career pathways continues to progress. Ellen, Georgina, and Rhian, our Assistant Music Leaders in Bristol, Birmingham, and Cardiff, all started out as NOYO musicians.

- Dame Mary Richardson

Our concerts brought recognition from Music Mark, who spotlighted Elements later in the year, and we were honoured to be selected by ABRSM Artistic Director Alexis Ffrench for an ABRSM Stage showcase. Following their frst year of rehearsals, the Cardiff NOYO Ensemble gained attention, featuring in a BBC Radio Wales documentary about inclusive music-making.

Throughout the year, NOYO musicians engaged in great social activities at the national residential, regional gettogethers, and online. Stephen Bryant - violinist and leader of the BBC Symphony Orchestra, and Kevin Satizabal Carrascal - Paraorchestra pianist, shared fun stories and professional tips during our ‘NOYO and Friends’ Zoom chats!

NOYO musicians played an active role in widening our reach, talking about the need for more inclusive practices at the Association of British Orchestras Conference, at a National Inclusion Group meeting and through LSO Pathways. Alessandro showcased his Clarion instrument at both HarrisonParrott and

Informed by feedback from families and new practical considerations as our NOYO community grows, the structural changes we introduced this year enable a more accessible, satisfying learning experience. Within their Regional NOYO Ensembles, musicians can rehearse full musical arrangements better tailored to their ensemble’s strengths, with more time to grow in confdence both musically and personally . Involvement in the National Open Youth Orchestra is now more fexible, making it more possible to accommodate young people with busy exam schedules.

And yet, changing wasn’t easy. Some young musicians and families found the new structure challenging. We are grateful for their support and feedback through this transition period. Looking ahead, we are determined to continue building up both regional and national opportunities for all NOYO musicians.

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Clarion

This was a pivotal year for the Clarion accessible instrument. We invested in software development, preparing intensively to share it outside our programmes.

By September 2024, we were ready to launch Clarion Education, our licensing package giving organisations access to the Clarion app on their iPads and Windows devices.

“The Clarion has enabled pupils to play independently, to be expressive and to fully reach their musical potential; its versatility as an adaptable instrument makes almost anything possible. Our young musicians have achieved way beyond expectations and this has also raised aspirations for these pupils in their other areas of study.”

- Stephanie Wellings. Music Leader, Chadsgrove School

As a team, we carefully planned the launch of Clarion Education, covering every aspect from market research to technical development. We created new content by adapting Happy Birthday , Amazing Grace , and Blow the Wind Southerly into Clarion patterns in preparation for the release. We also produced learning resources, including an online training webinar and ‘how-to’ videos.

Through technical updates, we continued to enhance the Clarion’s playability — one key upgrade being its compatibility with Figurenotes, an accessible notation system that uses colour and shape to show pitch and rhythm.

Our three-year pilot with ABRSM, the exam board of the Royal Schools of Music, led to a landmark moment: as of September 2024, the Clarion has become the frstever digital instrument to be formally assessed. Over the next few years, we will work closely with Open Orchestras Clarion players to help them undertake ABRSM Open Music Assessments, collaborating with their schools, ABRSM and Young Sounds UK to support the Department for Education’s Music Opportunities Pilot.

It was also hugely exciting to collaborate with BBC Ten Pieces to make classical music more accessible. The Clarion has become part of their teaching resources for Magic by Judith Weir and Grasswalk by Laura Shigihara. View BBC Ten Pieces Clarion resources.

Thanks to the over 600 Clarion players— many of whom are part of Open Orchestras and NOYO—the Clarion has started gaining recognition, even featuring in a the Royal Philharmonic Society magazine article. We also successfully applied for the Clarion to be included in the Department for Education Instrument Fund. We closed the year with a renewed commitment to growing this amazing community of Clarion players and sharing their music.

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Clarion Be creative with music Helen Temple For music educators uick video tutorials and tipsto get you started Gettingstarted A quick demo of how to use the Clarion In this quick demo video. we show you some Clarion how-tos- from playing nots5to uploading pattern5 and changing50und5.

Getting started transcri Bea Hubble (National Open Youth Orchestral and Jonathan Westrup (Open Orche5trasl share essential tIP5to rnakethe most of the Clarion. Position and amplification m3tterl Introduclng Clarion patterns • Uarfon Happy Birthday 27

Accessible Musical Pathways (AMP) Toolkit

Our programmes alone cannot meet the needs of the UK’s 1.3 million disabled children and young people. Recognising this, we launched the AMP Toolkit pilot, an exploratory resource designed to share our knowledge and inspire others to make their programmes more accessible. Together, we can open up many more opportunities for young disabled people to engage with music and progress.

Backed by NOYO partners who provided essential support and resources, we conducted the frst phase of the AMP Toolkit pilot.

Guided by independent researchers Dr. Sarah Mawby and Abigail D’Amore, along with invaluable insights from NOYO musicians Torin and Georgina, who acted as young consultants, we developed an initial version of two Toolkit sections— focused on Disability and Music.

These sections are designed as prompts for organisations to explore accessibility practices, refect on the barriers faced by young disabled musicians, and shape their own vision of a journey toward greater accessibility.

Throughout 2023–24, existing and new collaborators – Bournemouth Symphony Orchestra, Bristol Youth Orchestra, London Schools Symphony Orchestra, Birmingham Schools’ String Sinfonia, Junior Conservatoire Orchestra, and the National Children’s Orchestra – worked with us to test these sections and provide constructive feedback.

In July 2024, we held an in-person workshop, bringing together collaborators to discuss fndings and co-design the next stages of the Toolkit. The collective energy put into this work and the positive response have galvanized us to advance the AMP Toolkit.

Looking ahead, we will continue refning and building the Toolkit, exploring its potential to drive meaningful conversations about accessibility.

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“It is important that we distil everything that all the NOYO partners, practitioners, and participants have learned into a format that is accessible for organisations at all stages of the inclusion journey.”

- Louise Mitchell CBE, Former CEO of Bristol Beacon

“I really hope the activities and discussion topics will help these organisations to make changes.

The organisations that have signed up must have an interest in disability and these self-diagnostic tools will really help them to understand more about this area.”

- Georgina, NOYO musician and AMP Toolkit consultant

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Financials

2023-24 Performance and results

30-31

11

Financial review

During this period, we increased our income from £763,688 in 2022-23 to £832,983 total income for 2023-24. The principal funding sources for the charity remain statutory and trusts and foundations grants.

Open Up Music would not exist without grants and partnerships from a number of very generous organisations. We are grateful that we are supported using public funding by Arts Council England and the Department for Education.

Our thanks also go to Paul Hamlyn Foundation, Esmée Fairbairn Foundation, Youth Music, The Lightbulb Trust, The Rayne Foundation, The Radcliffe Trust, The D’Oyly Carte Charitable Trust, The Childwick Trust, John James Bristol Foundation, Harrison Parrott Foundation, Vaughan Williams Foundation, Chapman Charitable Trust, The Samuel Gardner Memorial Trust, BlockSurvey and The Northwick Trust.

We continue to be hugely grateful for the support of our NOYO founding sponsor ABRSM, along with the individuals who chose to support us during this period.

Earned income was raised through Open Orchestras subscriptions, with the programme marketed to schools, Music Education Hubs and arts organisations. Income was also earned through National Open Youth Orchestra ticket sales and merchandise, and a number of consultancy opportunities where we were asked to share our expertise.

Reliance on trusts and foundations continues to represent a risk for the organisation and its work, especially as demand for that form of funding is increasingly competitive. However, work is in progress to diversify our income streams.

Through the 2023-24 period, work was completed to make the Clarion available to purchase by organisations outside our Open Orchestras programme. Through 2024-25 we hope to see earned income increase through Clarion sales, with work ongoing to enable it to be available to individuals to purchase from Autumn 2025. The fundraising strategy has also been developed, with work now in train to increase donations from individuals and corporate partners.

These funders made it possible for us to carry out our charitable activities throughout the academic year and continue to plan for future activities.

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Operating Reserves Policy

Reserves held by the charity at the end of the year

The general funds less fxed assets held at the end of the year are considered to be the charity’s unrestricted free reserves.

The charity aims to hold free reserves covering three months’ average operating costs. The budgeted expenditure for 202425 is £979,511 and therefore the target is £244,878.

The calculation of average monthly operating costs includes all recurring, predictable expenses such as salaries and benefts, occupancy, offce, travel, programmes, and ongoing professional services.

Depreciation, in kind, and other non-cash expenses are not included.

The calculation of average monthly expenses also excludes some expenses including one-off or capital purchases.

At the end of 2023-24 the charity held free reserves of £314,757. This is the frst time that we have met, and surpassed, our target.

The charity held an additional £26,297 of unrestricted funds at year-end, which have been designated to be spent in 2024-25 rather than being included in the general funds. These funds were designated to programme funding in agreement with the funders, and therefore cannot be used to add to our free reserves.

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----- Start of picture text -----
Fixed assets Total funds
£6,979 £356,908
Designated funds Unrestricted
£26,297 free reserves
£314,757
Restricted funds
£8,875
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34

Report of the trustees

The trustees, who are also directors of the charity for the purposes of company law, present their annual report. It includes an overview of Open Up Music’s performance and fnancial statements for the year ending 31 August 2024, prepared in accordance with the Statement of Recommended Practice (SORP) “Accounting and Reporting by Charities”, the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS102) effective 1 January 2019, and the statutory requirements of the charity’s Governing Document.

The trustees confrm that they have complied with their duty, as outlined in section 17 of the Charities Act 2011 ‘Charities and Public Beneft’.

Statement of Responsibilities of the Trustees

Company law requires the trustees to prepare fnancial statements for each fnancial year, which give a true and fair view of the state of affairs of the charity and of the income and expenditure of the charity for that period. In preparing those fnancial statements the trustees are required to:

• State whether applicable accounting standards and statements of recommended practice have been followed, subject to any material departures disclosed and explained in the fnancial statements; and

The trustees are responsible for keeping proper accounting records which disclose with reasonable accuracy at any time the fnancial position of the charity and which enable them to ensure that the fnancial statements comply with the Companies Act 2006. The trustees are also responsible for safeguarding the assets of the charity and hence for taking reasonable steps for the prevention and detection of fraud and other irregularities.

The trustees are responsible for the maintenance and integrity of the corporate and fnancial information included on the charitable company’s website. Legislation in the United Kingdom governing the preparation and dissemination of fnancial statements may differ from legislation in other jurisdictions.

Members of the charity guarantee to contribute an amount not exceeding £1 to the assets of the charity in the event of winding up. The total number of such guarantees at 31 August 2024 was 7.

The trustees are members of the charity but this entitles them only to voting rights. The trustees have no benefcial interest in the charity.

Independent examiners

Godfrey Wilson Ltd were re-appointed as the charitable company’s independent examiners during the year and have expressed their willingness to act in that capacity.

Approved by the trustees on 28 January 2025 and signed on their behalf by

Judith Webster, Chair

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Independent examiner's report

To the trustees of O en U Music p p

I report to the trustees on my examination of the accounts of Open Up Music (the charitable company) for the year ended 31 August 2024, which are set out on pages 38 to 53.

Responsibilities and basis of report

As the trustees of the charitable 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 charitable 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 the charitable company'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.

Independent examiner’s statement

Since the charitable 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 am a member of the Institute of Chartered Accountants in England and Wales (ICAEW), which is one of the listed bodies.

Godfrey Wilson Limited also provides bookkeeping and payroll services to the charitable company. I confirm that as a member of the ICAEW I am subject to the FRC’s Revised Ethical Standard 2016, which I have applied with respect to this engagement.

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

36

Independent examiner's report

To the trustees of O en U Music p p

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.

William Guy Blake

Date: 28 January 2025 William Guy Blake ACA Member of the ICAEW For and on behalf of:

Godfrey Wilson Limited

Chartered accountants and statutory auditors 5th Floor Mariner House

62 Prince Street Bristol BS1 4QD

37

Statement of financial activities (incorporating an income and expenditure account)

For the ear ended 31 Au ust 2024 y g

Note
Income from:
Donations
3
Charitable activities
4
Total income
Expenditure on:
Raising funds
Charitable activities
Total expenditure
6
Net income / (expenditure)
and net movement in funds
7
Reconciliation of funds:
Total funds brought forward
Total funds carried forward		 Restricted
£
264,375
-
264,375
-
350,615
350,615
(86,240)
95,115
8,875		 Unrestricted
£
448,466
120,142
568,608
115,264
335,387
450,651
117,957
230,076
348,033		 2024
Total
£
712,841
120,142
832,983
115,264
686,002
801,266
31,717
325,191
356,908		 2023
Total
£
711,718
51,970
763,688
110,471
612,324
722,795
40,893
284,298
325,191

All of the above results are derived from continuing activities. There were no other recognised gains or losses other than those stated above. Movements in funds are disclosed in note 15 to the accounts.

38

Balance sheet

As at 31 Au ust 2024 g

Balance sheet
As at 31 August 2024
2024 2023
Note £ £ £
Fixed assets
Tangible assets 10 6,979 -
Current assets
Debtors 11 91,738 7,394
Cash at bank and in hand 323,279 378,248
415,017 385,642
Liabilities
Creditors: amounts falling due within 1 year 12 (65,088) (60,451)
Net current assets 356,908 325,191
Net assets 14 356,908 325,191
Funds 15
Restricted funds 8,875 95,115
Unrestricted funds
Designated funds 26,297 37,986
General funds 321,736 192,090
Total charity funds 356,908 325,191

The directors are satisfied that the company is entitled to exemption from the provisions of the Companies Act 2006 (the Act) relating to the audit of the financial statements for the year by virtue of section 477, and that no member or members have requested an audit pursuant to section 476 of the Act.

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

Approved by the trustees on 28 January 2025 and signed on their behalf by

Judith Webster - Chair

39

Notes to the fnancial statements

Statement of cash flows

For the ear ended 31 Au ust 2024 y g

Cash used in operating activities:
Net movement in funds
Adjustments for:
Depreciation charges
Decrease / (increase) in debtors
Increase / (decrease) in creditors
Net cash provided by / (used in) operating activities
Cash flows from investing activities
Purchase of tangible fixed assets
Net cash used in investing activities
Increase / (decrease) in cash and cash equivalents in the year
Cash and cash equivalents at the beginning of the year
Cash and cash equivalents at the end of the year		 2024
£
31,717
2,039
(84,344)
4,637
(45,951)
(9,018)
(9,018)
(54,969)
378,248
323,279		 2023
£
40,893
-
12,491
19,188
72,572
-
-
72,572
305,676
378,248

The charity has not provided an analysis of changes in net debt as it does not have any long term financing arrangements.

40

Notes to the financial statements

For the ear ended 31 Au ust 2024 y g

1. Accounting policies

a) Basis of preparation

Open Up Music is a charitable company limited by guarantee registered in England and Wales. The registered office address is Streamline, 436-441 Paintworks, Arnos Vale, Bristol,

The financial statements have been prepared in accordance with Accounting and Reporting by Charities: Statement of Recommended Practice applicable to charities in preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102) (effective 1 January 2019) - (Charities SORP (FRS 102)), the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102) and the Companies Act 2006.

Open Up Music meets the definition of a public benefit entity under FRS 102. Assets and liabilities are initially recognised at historical cost or transaction value unless otherwise stated in the relevant accounting policy note.

b) Going concern basis of accounting

The accounts have been prepared on the assumption that the charity is able to continue as a

going concern, which the trustees consider appropriate having regard to the current level of unrestricted reserves. There are no material uncertainties about the charity's ability to continue as a going concern.

c) Income

Income is recognised when the charity has entitlement to the funds, any performance conditions attached to the item of income has been met, it is probable that the income will be received and the amount can be measured reliably.

Income from the government and other grants, whether 'capital' grants or 'revenue' grants, is recognised when the charity has entitlement to the funds, any performance conditions attached to the grants have been met, it is probable that the income will be received and the amount can be measured reliably and is not deferred.

Income received in advance of provision of services is deferred until criteria for income recognition are met.

d) Donated services and facilities

Donated professional services and donated facilities are recognised as income when the charity has control over the item, any conditions associated with the donated item have been met, the receipt of economic benefit from the use by the charity of the item is probable and the economic benefit can be measured reliably. In accordance with the Charities SORP (FRS 102), general volunteer time is not recognised.

On receipt, donated professional services and donated facilities are recognised on the basis of the value of the gift to the charity which is the amount the charity would have been willing to pay to obtain services or facilities of equivalent economic benefit on the open market; a corresponding amount is then recognised in expenditure in the period of receipt.

41

Notes to the financial statements

For the ear ended 31 Au ust 2024 y g

1. Accounting policies (continued)

d) Donated services and facilities (continued)

For Google AdWords, the charity measures the value of the gift at the market value provided by Google. Where the market value is given in foreign currency, this is translated in line with the charity's foreign exchange policy (note 1n). This is a departure from the SORP but is a reliable estimate of the valuation.

e) Interest receivable

Interest on funds held on deposit is included when receivable and the amount can be measured reliably by the charity: this is normally upon notification of the interest paid or payable by the bank.

f) Funds accounting

Unrestricted funds are available to spend on activities that further any of the purposes of the charity. Designated funds are unrestricted funds of the charity which the trustees have decided at their discretion to set aside to use for a specific purpose. Restricted funds are donations which the donor has specified are to be solely used for particular areas of the charity's work or for specific projects being undertaken by the charity.

g) Expenditure and irrecoverable VAT

Expenditure is recognised once there is a legal or constructive obligation to make a payment to a third party, it is probable that settlement will be required and the amount of the obligation can be measured reliably.

Irrecoverable VAT is charged as a cost against the activity for which the expenditure was incurred.

h) Allocation of support and governance costs

Support costs are those functions that assist the work of the charity but do not directly undertake charitable activities. Governance costs are the costs associated with the governance arrangements of the charity, including the costs of complying with constitutional and statutory requirements and any costs associated with the strategic management of the charity’s activities. These costs have been allocated between cost of raising funds and expenditure on charitable activities based on the proportion of staff time as follows:

2024 2023
Raising funds 14.4% 15.3%
Charitable activities 85.6% 84.7%

i) Tangible fixed assets

Depreciation is provided at rates calculated to write down the cost of each asset to its estimated residual value over its expected useful life. The depreciation rates in use are as follows:

Computer equipment 3 years Office equipment 3 years

Items of equipment are capitalised where the purchase price exceeds £500.

j) Debtors

Trade and other debtors are recognised at the settlement amount due after any trade discount offered. Prepayments are valued at the amount prepaid net of any trade discounts due.

42

Notes to the financial statements

For the ear ended 31 Au ust 2024 y g

1. Accounting policies (continued)

k) Cash at bank and in hand

Cash at bank and cash in hand includes cash and short term highly liquid investments with a short maturity of three months or less from the date of acquisition or opening of the deposit or similar account.

l) Creditors

Creditors and provisions are recognised where the charity has a present obligation resulting from a past event that will probably result in the transfer of funds to a third party and the amount due to settle the obligation can be measured or estimated reliably. Creditors and provisions are normally recognised at their settlement amount after allowing for any trade discounts due.

m) Financial instruments

The charitable company only has financial assets and financial liabilities of a kind that qualify as basic financial instruments. Basic financial instruments are initially recognised at transaction value and subsequently measured at their settlement value with the exception of bank loans which are subsequently recognised at amortised cost using the effective interest method.

n) Pension costs

The company operates a defined contribution pension scheme for its employees. There are no further liabilities other than that already recognised in the SOFA.

o) Foreign currency transactions

Transactions in foreign currencies are translated at rates prevailing at the date of the transaction. Balances denominated in foreign currencies are translated at the rate of exchange prevailing at the year end.

p) Operating leases

Leases which do not transfer substantially all the risks and rewards of ownership to the charity are classified as operating leases.

Operating lease payments are recognised as an expense on a straight-line basis over the lease term.

q) Accounting estimates and key judgements

In the application of the charity's accounting policies, the trustees are required to make judgements, estimates and assumptions about the carrying values of assets and liabilities that are not readily apparent from other sources. The estimates and underlying assumptions are based on historical experience and other factors that are considered to be relevant. Actual results may differ from these estimates.

The estimates and underlying assumptions are reviewed on an ongoing basis. Revisions to accounting estimates are recognised in the period in which the estimate is revised if the revision affects only that period, or in the period of the revision and future periods if the revision affects both current and future periods.

There are no key sources of estimation uncertainty that have a significant effect on the amounts recognised in the financial statements.

43

Notes to the financial statements

For the ear ended 31 Au ust 2024 y g

2.
Prior period comparatives: statement of financial activities
Restricted
£
Unrestricted
£
Income from:
Donations and legacies
428,955
282,763
Charitable activities
-
51,970
Total income
428,955
334,733
Expenditure on:
Raising funds
-
110,471
Charitable activities
366,368
245,956
Total expenditure
366,368
356,427
Net expenditure and movement in funds
62,587
(21,694)
3.
Income from donations
Restricted
£
Unrestricted
£
Grant funding
263,608
412,334
Donations
767
32,247
Gifts in kind
Gifts in kind includes the following items:
-
3,885
Total income from donations
264,375
448,466
2024
£
Subscriptions
977
Google AdWords
613
Venue hire
720
Filming
350
Website development
745
Conferences
480
Total income from gifts in kind
3,885		 2023
Total
£
711,718
51,970
763,688
110,471
612,324
722,795
40,893
2024
Total
£
675,942
33,014
3,885
712,841
2023
£
1,866
1,155
-
-
-
-
3,021

44

Notes to the financial statements

For the ear ended 31 Au ust 2024 y g

3. Income from donations (continued) Prior period comparative

Grant funding
Donations
Gifts in kind
Total income from donations
Income from charitable activities*
Open Orchestra fees
Ticket sales and merchandise
Consultancy
Orchestra tax relief		 Restricted
£
Unrestricted
£
402,042
252,932
26,913
26,810
-
3,021
428,955
282,763
Restricted
£
Unrestricted
£
2024
Total
£
-
34,840
34,840
-
2,950
2,950
-
2,665
2,665
-
79,687
79,687
-
120,142
120,142		 2023
Total
£
654,974
53,723
3,021
711,718
2023
Total
£
27,551
-
800
23,619
51,970

4. Income from charitable activities

All income from charitable activities in 2023 was unrestricted.

5. Government grants

The charitable company receives government grants, defined as funding from Arts Council England and the Department for Education to fund charitable activities. The total value of such grants in the period ending 31 August 2024 was £350,002 (2023: £256,474). There are no unfulfilled conditions or contingencies attaching to these grants in 2024 or 2023.

45

Notes to the financial statements

For the ear ended 31 Au ust 2024 y g

6. Total expenditure

Total expenditure
Activity costs
Events
Staff costs (note 8)
Other staff costs
Marketing and communications
Professional fees
Rent and rates
Other office costs
Governance costs
Fundraising
Depreciation
Sub-total
Allocation of support and governance
costs
Total expenditure
Prior period comparative
Activity costs
Events
Staff costs (note 8)
Other staff costs
Marketing and communications
Professional fees
Rent and rates
Other office costs
Governance costs
Fundraising
Sub-total
Allocation of support and governance
costs
Total expenditure		 Raising
funds
£
-
-
86,292
-
-
-
-
-
-
1,694
-
87,986
27,278
115,264
Raising
funds
£
-
-
85,762
-
-
-
-
-
-
3,366
89,128
21,343
110,471		 Charitable
activities
£
Support and
governance
costs
£
160,618
-
30,621
-
299,043
88,333
5,207
8,163
28,167
-
-
26,900
-
41,216
-
20,014
-
2,959
-
-
-
2,039
523,656
189,624
162,346
(189,624)
686,002
-
Charitable
activities
£
Support and
governance
costs
£
129,831
-
19,699
-
310,870
54,972
7,500
12,579
26,123
-
-
15,249
-
40,969
-
12,894
-
2,981
-
-
494,023
139,644
118,301
(139,644)
612,324
-		 2024
Total
£
160,618
30,621
473,668
13,370
28,167
26,900
41,216
20,014
2,959
1,694
2,039
801,266
-
801,266
2023
Total
£
129,831
19,699
451,604
20,079
26,123
15,249
40,969
12,894
2,981
3,366
722,795
-
722,795

46

Notes to the financial statements

For the year ended 31 August 2024

7. Net movement in funds

This is stated after charging:





tes to the financial statements
the year ended 31 August 2024
Net movement in funds
This is stated after charging:
2024 2023
£ £
Depreciation 2,039 -
Operating lease payments 31,799 29,537
Trustees' remuneration Nil Nil
Trustees' reimbursed expenses Nil Nil
Independent examiners' remuneration:
• Independent examination (excluding VAT) 2,000 1,900
• Other services (excluding VAT) 4,551 3,277

8. Staff costs and numbers Staff costs were as follows:

Salaries and wages
Social security costs
Pension costs
Total staff costs
Employees earning more than £60,000 during the year:
Between £60,000 and £70,000		 2024
£
424,775
38,605
10,288
473,668
2024
No.
1		 2023
£
405,313
36,775
9,516
451,604
2023
No.
-

The key management personnel of the charitable company comprise the Trustees, Chief Executive Officer and Artistic Director. From September 2023, the Head of Operations and Head of Marketing and Communications were added to the key management personnel. The total employee benefits of the key management personnel were £224,201 (2023: £131,203).

Average head count 2024
No.
12.4		 2023
No.
12.0

9. Taxation

The charity is exempt from corporation tax as all its income is charitable and is applied for charitable purposes.

47

Notes to the financial statements

For the year ended 31 August 2024

10. Tangible fixed assets
Cost
At 1 September 2023
Additions in year
Disposals
At 31 August 2024
Depreciation
At 1 September 2023
Charge for the year
On disposals
At 31 August 2024
Net book value
At 31 August 2024
At 31 August 2023
11. Debtors
Accrued income
Trade debtors
Other debtors
Prepayments
12. Creditors : amounts due within 1 year
Trade creditors
Accruals
Deferred income (see note 13)		 2024
£
79,687
7,829
3,697
525
91,738
2024
£
20,829
5,699
38,560
65,088		 Total
£
-
9,018
-
9,018
-
2,039
-
2,039
6,979
-
2023
£
280
4,400
2,714
-
7,394
2023
£
23,081
7,210
30,160
60,451

48

Notes to the financial statements

For the year ended 31 August 2024

13. Deferred income

At 1 September
Deferred during the year
Released during the year
At 31 August		 2024
£
30,160
38,560
(30,160)
38,560		 2023
£
26,875
30,160
(26,875)
30,160

Deferred income relates to Open Orchestra fees invoiced in advance of provision.

14. Analysis of net assets between funds

Analysis of net assets between funds
Fixed assets
Current assets
Current liabilities
Net assets at 31 August 2024
Prior year comparative
Current assets
Current liabilities
Net assets at 31 August 2023		 Restricted
funds
£
-
12,385
(3,510)
8,875
Restricted
funds
£
99,348
(4,233)
95,115		 Designated
funds
£
-
43,616
(17,319)
26,297
Designated
funds
£
44,321
(6,335)
37,986		 General
funds
£
6,979
359,016
(44,259)
321,736
General
funds
£
241,973
(49,883)
192,090		 Total
funds
£
6,979
415,017
(65,088)
356,908
Total
funds
£
385,642
(60,451)
325,191

49

Notes to the financial statements

For the year ended 31 August 2024

15. Movements in funds

r the year ended 31 August 2024
Movements in funds
At 1
September
2023
£
Restricted funds
Anonymous
80,000
BlockSurvey
-
The Childwick Trust
-
Department for Education
-
The D’Oyly Carte Charitable Trust
3,500
John James Bristol Foundation
-
The Lightbulb Trust
-
Paul Hamlyn Foundation
-
The Radcliffe Trust
5,000
The Samuel Gardner Memorial Trust
-
Three Peaks fundraiser
1,913
Youth Music
4,702
Total restricted funds
95,115
Unrestricted funds
Designated funds
Open Orchestras
21,686
National Open Youth Orchestra
-
Clarion
10,600
Research and Development
5,700
Core
-
Total designated funds
37,986
General funds
192,090
Total unrestricted funds
230,076
Total funds
325,191		 Income
£
Expenditure
£
-
(80,000)
767
(767)
9,000
(9,000)
45,084
(42,209)
6,000
(3,500)
5,000
(5,000)
44,024
(44,024)
88,000
(88,000)
-
(5,000)
1,500
(1,500)
-
(1,913)
65,000
(69,702)
264,375
(350,615)
-
(23,666)
59,000
(53,105)
103,507
(119,620)
53,951
(52,949)
88,460
(67,267)
304,918
(316,607)
263,690
(134,044)
568,608
(450,651)
832,983
(801,266)		 Transfers
between
funds
£
-
-
-
-
-
-
-
-
-
-
-
-
-
1,980
(5,895)
15,513
(405)
(11,193)
-
-
-
-		 At 31
August
2024
£
-
-
-
2,875
6,000
-
-
-
-
-
-
-
8,875
-
-
10,000
6,297
10,000
26,297
321,736
348,033
356,908

50

Notes to the financial statements

For the year ended 31 August 2024

15. Movement in funds (continued) Purposes of restricted funds

Open Orchestras

The following grant funding is for the purpose of supporting the Open Orchestras programme: The Childwick Trust

The Samuel Gardner Memorial Trust Youth Music

National Open Youth Orchestra

The following grant funding is for the purpose of supporting the National Open Youth Orchestra programme:

The D’Oyly Carte Charitable Trust Anonymous Department for Education John James Bristol Foundation Paul Hamlyn Foundation The Radcliffe Trust Three Peaks fundraiser The Lightbulb Trust

Clarion

The following donation is for the purpose of supporting the development of the Clarion, an accessible digital instrument:

BlockSurvey

Purposes of designated funds

All designated funds have been received from Arts Council England. The following purposes have been designated to these funds:

Open Orchestras

This represents funding designated to support and develop our Open Orchestras programme.

National Open Youth Orchestra

This represents funding designated to support and develop the National Open Youth Orchestra.

Clarion

This represents funding designated to supporting the development of the Clarion, an accessible digital instrument.

Research and Development

This represents funding designated to support research and development into new programmes to open up music to young disabled people.

51

Notes to the financial statements

For the year ended 31 August 2024

15. Movement in funds (continued) Purposes of designated funds (continued)

Core costs

This represents funding designated to support the core costs of the charity, including contributions towards staff, professional services and office costs.

Prior year comparative
At 1
September
2022
£
Restricted funds
ABRSM
-
Anonymous
-
Chapman Charitable Trust
-
Department for Education
-
The D’Oyly Carte Charitable Trust
-
Esmée Fairbairn Foundation
7,389
Harrison Parrot
-
The Northwick Trust
8,000
Paul Hamlyn Foundation
-
Questa Voce
300
The Radcliffe Trust
-
The Rayne Foundation
-
Social Tech Trust
10,367
The Starfish Trust
1,500
Three Peaks
-
Youth Music
4,972
Total restricted funds
32,528
Unrestricted funds
Designated funds
Open Orchestras
25,409
National Open Youth Orchestra
52,272
Clarion
-
Research and Development
-
Total designated funds
77,681
General funds
174,089
Total unrestricted funds
251,770
Total funds
284,298		 Income
£
Expenditure
£
25,000
(25,000)
190,000
(110,000)
1,000
(1,000)
22,542
(22,542)
3,500
-
-
(7,389)
10,000
(10,000)
-
(8,000)
110,000
(110,000)
-
(300)
5,000
-
20,000
(20,000)
-
(10,367)
-
(1,500)
1,913
-
40,000
(40,270)
428,955
(366,368)
-
(25,409)
-
(52,272)
-
-
-
-
-
(77,681)
334,733
(278,746)
334,733
(356,427)
763,688
(722,795)		 Transfers
between
funds
£
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
21,686
-
10,600
5,700
37,986
(37,986)
-
-		 At 31
August
2023
£
-
80,000
-
-
3,500
-
-
-
-
-
5,000
-
-
-
1,913
4,702
95,115
21,686
-
10,600
5,700
37,986
192,090
230,076
325,191

52

Notes to the financial statements

For the year ended 31 August 2024

16. Operating lease commitments

The charity had operating leases at the year end with total future minimum lease payments as follow

Amount falling due:
Within 1 year
Within 1 - 5 years
Total operating lease commitments		 2024
£
10,600
-
10,600		 2023
£
10,417
-
10,417

17. Related party transactions

There were no related party transactions in the year ended 31 August 2024, or the prior year.

53

Structure, governance and management 54-55

A.,lJb •WV4

Reference and administrative information

The Co-operative Bank, P.O Box 250, Skelmersdale WN8 6WT

Registered name: Open Up Music Bankers :

Working name: National Open Youth Orchestra

Unity Trust Bank PO Box 7193 Planetary Road Willenhall WV1 9DG

Company number: 06414209

Charity number: 1167028 Willenhall WV1 9DG Registered offce : Open Up Music, Streamline, 436-441 Paintworks, Independent Godfrey Wilson Limited examiners: Chartered accountants and Arnos Vale, Bristol, BS4 3AS statutory auditors 5th Floor Mariner House, 62 Prince Street, Bristol, BS1 4QD

Charity constitution

The organisation became a company limited by guarantee on 31 October 2007, registration number 06414209. The Charity was registered with the Charity Commission on 10 May 2016, charity number 1167028.

Details of governing document

The Charity is governed by its Memorandum and Articles of Association incorporated 31 October 2007 and these were updated on 13 May 2020.

Trustee recruitment, appointment, induction and training

When a need has been identifed to recruit trustees, the Nominations Committee manages the process. This committee includes the Chair and at least one other trustee, together with any other people deemed appropriate by the trustees. The board will have responsibility for ensuring that the recruitment and induction process is carried out.

Responsibility for recruiting trustees is not delegated to employees, although employees may be given specifc administrative tasks by the board.

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Organisational structure

Open Up Music’s Trustees have overall control of the Charity, its property and its funds. The Board of Trustees consists of at least two and not more than 10 individuals over the age of 18, all of whom must support the Objects. The trustees must hold at least three meetings each year. There is a quorum at a general meeting if the number of members present in person or by proxy is at least two. The day-to-day management of all charity matters is delegated to the Chief Executive Offcer (CEO), Barry Farrimond-Chuong MBE.

There are four Board Committees, to whom the CEO and Senior Management Team (SMT) report as appropriate. They aim to support and challenge the executive team, capitalising on the range of skills and experience available within the Board and creating opportunities for debate outside of full Board meetings. The Committees report to the Board.

Finance and Risk Committee

Provides governance, risk management and fnancial oversight. Risks are identifed, evaluated and mitigated by the senior management team and/or the Finance and Risk Committee.

Programme Oversight Committee

Oversees the programme development and its effective delivery consistent with the business (strategic) plan.

Fundraising and MarComms Committee

Oversees the business development, fundraising and marketing activities to ensure the fnancial stability and sustainability of the Charity and its purpose.

Nominations Committee

Ensures that new Trustee appointments are made consistent with the Terms of Reference and role descriptions.

Our patron and Board of trustees

Dr Clarence Adoo MBE Patron A founding member of the British Paraorchestra and RNS Moves, Clarence was one of the UK’s top trumpeters before becoming paralysed from the neck down in 1995. Since then, he has ~~.~~ re-launched his music career through technology. Judith Webster (she/her) Appointed 25 July 2022 Chair Judith is the CEO for the Association of British Orchestras. She was previously CEO of Music for Youth for ten years, transforming national events and the annual MFY Proms to be more inclusive. Judith started ~~m~~ her career as a music therapist. Sam Duffy (she/her) Appointed 25 July 2023 Treasurer

Sam is a fnance and research professional with experience in charity, commercial and higher education organisations, including the Royal Northern College of Music and Royal Academy of Music. She has an interdisciplinary PhD in the felds of music, education and technology

and plays saxophone with a number of jazz ensembles.

Jocelyn Watkins (she/her) Appointed 4 May 2022 Safeguarding Trustee Jocelyn is Director of Music at Treloar School and College and has been working in the area of music and disability for the past 16 ~~Q~~ years. She has run an Open Orchestra for the past nine years.

Appointed 4 May 2022

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David Ward (he/him)

Appointed 4 May 2022

David is a Research Associate with the University of Bristol, with a background in public funding, evaluation and impact. Before this, he worked for arts and education organisations in London and Canada. He plays the cello.

Dr Liz Lane (she/her) Appointed 23 April 2019 Liz is a British composer whose music has been played by some of the world’s top musicians in major concert halls and venues throughout the UK and internationally. She is also a Senior Lecturer at the University of the West of England. ~~i~~ Rebecca Sandiford (she/her) Appointed 4 May 2022

==> picture [128 x 13] intentionally omitted <==

Rebecca is Lead Curator for BBC Television and Images Archives and is studying for an MSc in Business & Strategic Leadership. Rebecca was previously a BBC Music Commissioning Executive where she led BBC Music Day, celebrating the power of music and showcasing diverse musical creativity across the UK.

Rosemary Johnson MBE (she/her)

Appointed 23 September 2019

Rosemary is Director of the Ralph Vaughan Williams Trust, in support of British composers. She was, for 20 years, Executive Director at the Royal Philharmonic Society, which supports young musicians through commissions, conducting schemes and bursaries.

Resigned 30 January 2024 Emily Norris (she/they) Scott Caizley FRSA (he/him)

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Our team

Alison Maxhuni (she/her) Head of Fundraising

Barry Farrimond-Chuong MBE (he/him) Chief Executive Offcer

Bea Hubble (she/her) Programme Manager Dan Brashaw (he/him) Marketing and Content Offcer

Demi Delaperelle (she/her) Programme Offcer (Maternity cover)

Elio Wilson (he/him/they/them) Pastoral Support Offcer

Gabriel Herzog (he/they) Fundraising Offcer

Helen Stevens (she/her)

Head of Operations Jonathan Westrup (he/him) Programme Manager

Julia Le (she/her)

Head of Marketing and Communications

Evie Sherry-Starmer (they/them) Executive Assistant

We are a small team of seven trustees, 10 full-time staff and 1 part-time staff.

We are supported in the delivery of training and mentoring for our Open Orchestras programme by two freelance Music Leaders. The development of the Clarion software is delivered by a freelance Software Developer.

Networks

Open Up Music is a member of the following networks, supporting our development and enabling the sharing of best practice across organisations:

The Association of British Orchestras, Music Mark, The Music Education Council, Black Lives in Music, Creative United, Technology in Music Education and National Youth Music Organisations.

Partners

Open Up Music holds key partnerships with a range of arts and cultural organisations, including:

National Open Youth Orchestra partnership s

B:Music, Barbican, BBC National Orchestra of Wales, Bournemouth Symphony Orchestra Bristol Beacon, Guildhall School of Music & Drama, Midlands Arts Centre, Royal Welsh College of Music & Drama, and Services For Education.

Open Orchestras partnerships

In 2023-24 we worked with 31 Music Hubs, two arts organisations and 61 schools across the country to deliver our Open Orchestras programme.

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How the charity makes decisions

Matters specifcally reserved for the Board of trustees include:

All matters not specifcally reserved for the Board and necessary for the day-to-day management of Open Up Music, and the implementation of the charity’s objectives, are delegated to management. Management may sub-delegate where appropriate.

Risk

The trustees regularly review the risks to which the Charity is exposed, in particular, those related to operations, fnances and safeguarding, and are satisfed that systems are in place to mitigate exposure to major risks.

Internal risks are minimised by the implementation of effective systems and control procedures, which ensure appropriate authorisation of all transactions and projects and consistent quality of delivery for all operational aspects of the charity.

One trustee has been nominated as safeguarding lead, and works with the staff team to ensure adequate safeguarding policies and procedures are in place for all our activities and within our organisation. We also work with partner organisations and venues to ensure that they have adequate safeguarding policies and procedures.

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Arrangements for setting the pay and remuneration of staff

Open Up Music are committed to retaining and developing the staff team. The Finance and Risk Committee makes recommendations to the Board of Trustees annually on appropriate remuneration for all Open Up Music employees in the forthcoming year, taking into account responsibilities, sector norms and the fnancial position of the charity. It is committed to doing so with full regard to fairness, accountability and transparency, in line with the ethos of the organisation.

Once every three years, the Finance and Risk Committee will carry out a review of salaries and benefts to all Open Up Music employees to ensure they are paid fairly and in line with others in our sector.

Governance code

Open Up Music has adopted and regards itself as compliant with the Charity Governance Code, including the seven principles: organisational purpose; leadership; integrity; decision-making, risk and control; Board effectiveness; equality, diversity and inclusion; and openness and accountability.

Objectives and activities - Public Beneft

The trustees confrm that they have undertaken to comply with the Charity Commission’s guidance on public beneft and are satisfed that the charity meets its obligations by progressing towards a more inclusive and diverse orchestral tradition that is more representative of the population. The trustees are satisfed that the charity is ensuring that young disabled people lead or are consulted to inform the charity’s work, thereby keeping strategy and activities relevant and appropriate. The trustees are satisfed that reducing the historic exclusion of young disabled musicians and widening the audience for inclusive music has a role in enriching and revitalising classical music, which is to the public beneft.

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Thank you

Our work could not have happened without the generous support of our funders.

National Open Youth Orchestra Founding Sponsor:

Open Up Music

Streamline 436-441 Paintworks Arnos Vale, Bristol BS4 3AS

Learn more

h openupmusic.org 0117 235 0362 1 facebook.com/openupmusic ~~xl~~ x.com/openupmusic

If you would like to receive this information in text only or other accessible formats, please email: info@openupmusic.org

Visit our website:

Photo credits

NOYO: Cardiff NOYO Ensemble by Kristen Mc Ternan (cover); London NOYO Ensemble by Paul Cochrane (page 6); National Open Youth Orchestra by Jon Furley (page 31, 32 and 65); Mark Allan (page 21); Russell Sach (page 24), Kate Green (page 21 and 25); Giulia Spadafora (page 19 and 55); and Jon Furley (page 31, 32 and 65)

Open Orchestras: Bower Grove Open Orchestra by Chris Cork (cover, page 16 and 57), Lindon Bennett Open Orchestra by Jon Furley (cover, page 11 and 60), Alfreton Park Open Orchestra (cover, page 13); St Rose’s Open Orchestra (page 13, 17 and 62); and Victoria School Open Orchestra (page 12).

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