**ANNUAL REPORT FOR THE PERIOD ENDED 31 JULY 2024 ANNUAL REPORT** 'Il ## **CONTENTS** - 3 REFERENCE AND ADMINISTRATIVE DETAILS 4 REPORT 4 OBJECTIVES AND ACTIVITIES 4 Introduction 5 Our Mission 5 Our Objectives 5 Our Activities - 6 ACHIEVEMENTS AND PERFORMANCE - 6 HELLENSMUSIC 2024 - 7 Masterclasses - 8 AUDIENCES 9 MARKETING AND PUBLICITY - 10 FUNDRAISING - 10 VISION AND GOALS FOR 2025 - 11 FINANCIAL REVIEW - 11 Income - 12 Expenditure - 13 STATEMENT OF TRUSTEES' RESPONSIBILITIES - 14 INDEPENDENT EXAMINER'S REPORT - 15 STATEMENT OF FINANCIAL ACTIVITIES - 16 BALANCE SHEET 17-18 NOTES TO THE FINANCIAL STATEMENTS 2 REFERENCE AND ADMINIsfRATIVE DEfAILS Principal address 5 Earls Walk London W8 6EP Telephone 0207 937 0415 Website www.hellensmusic.com Registered Charity number 1167396 Bankers HSBC plc 94 Kensington High Street LL)ndon W8 4SH Trustees Adam Munthe (Chair) Amanda Salmon Ian Venables James Scott Graham Sheffield Secretary Josephine Sheridan Independent Examiner Susan Barnwell Much Marcle Herefordshire ## **REPORT** ## **FOR THE YEAR ENDED 31 JULY 2024** ## **OBJECTIVES AND ACTIVITIES** ## INTRODUCTION 4 ## OUR MISSION ## OUR OBJECTIVES 1. 2. 3. ## 4. ## OUR ACTIVITIES 1. 2. 3. ## 4. 5 public. The Festival also offers pre-concert meals at the house so that audiences can come and enjoy the venue, and feel part of the joyful atmosphere of the event. ACHIEVEMENTS AND PERFORMANCE HELLENSMUSIC 2024 The year 2024 marked the I Ith anniversary of Hellensmusic. In line with our continued commitment to bringing world-class music-making to Herefordshire, Hellensmusic 2024 welcomed an outstanding group of internationally renowned musicians for a full week of masterclasses, rehearsals and concerts in May. Many of these performers are long- standing collaborators who have been part of Hellensmusic over the years, and we are proud to count on their continued support and artistic commitment. The 2024 edition featured the return of Hellensrnusic's co-founder and pianist Christian Blackshaw, alongside Maya Iwabuchi (violin - Leader, Royal Scottish National Orchestra), clarinettist and newly appointed co-artistic director Matthew Hunt, Bruno Delepelaire (Principal Cello - Berlin Philharmonic), Maté Szucs (former First Solo Viola - Berlin Philharmonic), and pianist Julien Quentin. We also welcomed new guest artists including soprano Borbala Szuromi, violinist Josef Spacek. violist Scott Dickinson. and double bassist Alexandre Jones. Twelve outstanding students (violin, viola, cello, oboe, bassoon and French horn) took part in an intensive masterclass programme, rehearsing and performing alongside our resident artists throughout the week. While the festival is open to the public from Wednesday to Sunday, musicians and students begin work on Monday - allowing for several days of focused rehearsal before the performances begin. Seven concerts were presented over five days, across our usual venues: the Great Barn at Hellens, St Bartholomew's Church. and the Walwyn Arms Pub in Much Marcle. The festival opened on Thursday evening with a bold and atmospheric perfonnance of voice and electronics at the church, featuring Borbala Szuromi in a contemporary soprano solo programme that offered something entirely new to our audiences. Friday brought two further concerts, including the ever-popular pub night at the Walwyn Arms. Saturday featured two perforn]ances, including a catered festival supper and a moving Schubert evening with Christian Blackshaw. The festival concluded on Sunday with two fmal concerts, separated by a BBQ lunch served in the gardens of Hellens. The festival meals (Saturday supper and Sunday BBQ) were once again a success, encouraging audience members to stay on-site and enjoy a deeper sense of community and conversation between concerts. While the opening concert required some additional support in terms of pricing and outreach _ due to its more experimental character - it was ultimately well attended and warmly received. All other concerts sold well, with high audience engagement across the board. Hellensmusic continues to offer a rare platforn]: one that supports musical excellence and deep creative exchange while remaining rooted in the intimacy of place, community, and shared artistic experience. Masterclasses Our aim is to create a rich and inspiring musical week for all participants, fostering an environment that stimulates the love and appreciation of music, and emphasises the importance of cross-connections and collaboration as vital components for the development of every musician. Beyond the masterclasses, students have the chance to engage with their tutors at meals and breaks and work hand in hand with them at rehearsals and performances. This provides a unique opportunity for informal learning, which sets Hellensmusic apart from other short courses. In 2024, we welcomed 12 students from some of the finest music institutions in the UK, Europe, and the US, including the Guildhall School of Music & Drama, Royal Academy of Music, Royal College of Music, Escuela Superior de Musica Reina Sofia, Zurcher Hochschule der Kunste, Musik-Akademie Basel FHNW, Rice University, and Cal State University Long Beach. Applications were accepted for violin, viol& cello, oboe, bassoon, and French horn. Students were selected through an open call, as in previous years, following a competitive application process which included CV and recording submissions, reviewed by the festival tutors. Throughout the week, students participated in: Three individual 60-minute solo masterclasses" Chamber music rehearsals and coaching sessions with resident artists" Improvisation sessions led by violist Maté Szucs" Performances in four of the seven festival concerts, including solo appearances during the closing Sunday events. The Friday concert was reserved for performances by resident musicians, while students took part in the Saturday and Sunday concerts, working and performing alongside their tutors. Once again, the week offered participants not only intensive instruction but also a space for shared experience and artistic exchange. AUDIENCES AND AUDIENCE DEVELOPMENT In 2024, Hellensmusic continued to enjoy strong public support, with enthusiastic audiences attending concerts, rehearsals, and masterclasses throughout the week. Most concerts were well attended, and some-such as the popular Friday evening pub concert-sold out months in advance. Whde the Thursday opening concert presented a more experimental artistic programme and required some pricing adjustments to encourage attendance, it was ultimately well received and nearly full, affirming the festival's ability to take creative risks. As in previous years, audiences primarily came from the West Midlands, with some visitors joining from Greater London and other regions of the UK. We remain committed to keeping Hellensmusic open and accessible to the local community. Ticket prices continue to be kept as low as possible, and all concerts are free for full-time students. In addition, audiences are invited to attend rehearsals and masterclasses at no cost during the week. This informal access contributes to a sense of inclusion and shared musical discovery that is central to our mission. Our now well-established pub concert at the Walwyn Arms continues to bring classical music to broader and more diverse audiences. The 2024 edition offered a dynamic programme blending classical> jazz, fdm music, and popular tunes, performed by festival artists and students in a relaxed setting. The event has become a higmight of the week, consistendy selling out and drawing new faces into the festival. We also continued our tradition of festival meals for audiences, including a supper in-between concerts on Saturday and a BBQ lunch on Sunday. These meals encourage people to stay for the full day of concerts, creating a warm and welcoming festival environment. MARKETING AND PUBLicrrY Hellensmusic continues to employ a multi-layered approach to marketing and publicity, combining traditional offline techniques with digital tools and partnerships. Our strategy includes printed materials, local visibility, email marketing, social media engagement, online listings, and a strong website presence. Printed Materials: Posters and flyers were distributed again this year across Herefordshire, Worcestershire, Gloucestershire, and Monmouthshire, targeting local businesses, music venues, and community boards. Road signage and banners were placed in strategic, high-visibility areas around Much Marcle in the weeks leading up to the festival. Social Media: While we did not run paid campaigns this year, our regular activity on Instagram and Facebook maintained strong engagement. Notably, we observed organic growth among younger audiences and classical music students, reflecting the festival's evolving appeal and educational profile. Email Marketing: Our mailing list remains an essential tool for audience engagement, with a reach of approximately 4,000 subscribers and consistendy high open rates (averaging 47¥0). In 2024, we continued our reciprocal marketing partnerships. Listings: The festival was again featured in major classical music and cultural listings, including Concert Diary, What's On, The List, Visit Heart of England, Eat Sleep Live Herefordshire, and local press event calendars. Ticketing: We continued to manage ticket sales through Ticketsource, which offers control over sales, data collection, and customer experience. This has proven valuable in understanding audience trends and refining communications. Website: In 2024, we redesigned the Hellensmusic website. With a more modern layout, updated artistic photography, and improved navigation, the site now offers a more intuitive and visually engaging experience. It remains our central platform for ticket sales, infonnation, and students applications. Public Relations: While we did not secure national or radio coverage this year, we maintained our presence in regional print media. Strengthening relationships with press and broadcasters remains a priority, particularly as we look to grow our visibility and broaden audience engagement in future editions. 10 FUNDRAISING Hellensmusic continues to rely heavily on external funding and donations to deliver its activities each year. Our Regular Supporters Programme, launched in 2018. remains a cornerstone of our fundraising efforts. This three-tier scheme invites individuals to support the festival as Friends, Patrons or Benefactors, with an annual contribution. In 2024, the programme maintained a solid base of 56 supporters whose generosity helps ensure the continuity and development of our work. We are especially grateful to the Pennington-mellor-munthe Charitable Trnst for its ongoing and vital support. The Trust provides the venue and infrastructure at Hellens Manor, and we are indebted to the Hellens team for their time and dedication before, during and after the festival. Without this invaluable support, Hellensmusic would not be possible. VISION AND GOALS FOR 2025 As we look ahead to the 2025 edition, our ambition is to further establish Hellensmusic as one of the UK'S most distinctive chamber music festivals and a sought-after destination for exceptional musical training. We are proud of our artistic direction, the outstanding calibre of our guest artists, and the unique learning environment we create for young musicians. In 2025, we are also pleased to mark a new chapter in the festival's artistic leadership with the appointment of Matthew Hunt as co-artistic director, joining Maya Iwabuchi in shaping the creative vision of Hellensmusic. Both bring a deep understanding of the festival's values, alongside world-class artistic expertise. Feedback from 2024's masterclass participants reflects the transformative nature of the experience, with many describing the festival as inspiring, life-changing, and professionally invaluable. To build on this foundation, our priorities for the year ahead are: Strengthening Media Presence: We aim to secure a committed media partner who can help raise the festival's national profile through coverage in leading publication.s and platforms. Expanding Strategic Partnerships: We will continue to foster relationships with festivals, music conservatoires, and arts institutions across the UK and Europe. 11 ## **FINANCIAL REVIEW** ## INCOME Where the money came from `o o o` 12 ## EXPENDITURE How the money was spent `o o o o` 13 Donations 8% Events Catering Events Publicity 8% Events Personnel + Artist Fees Hire of Event Servic05 61% 12% Expenditure 2023-24 The above details of our income and expenditure are presented in the Statement of Financial Activities (SOFA) for the period on page 15 of this report. The SOFA is more of a 'narrative' of the financial activities during the period, whilst the Balance SheeL which can be found on page 16, provides more of a 'snapshot' of the charity's fmancial position as at the end of its financial year on 31 July 2024. 14 ## BALANCE SHEET How we ended the period ## STATEMENT OF ## RESPONSIBILITIES 15 **INDEPENDENT REPORT** ## **TO THE TRUSTEES OF THE HELLENSMUSIC** I report to the charity trustees on my examination of the accounts of Hellensmusic (the Charity) for the year ended 31 July 2024. ## Respective responsibilities of Trustees and examiner As the Trustees of the Charity you are responsible for the preparation of the accounts in I report in respect of my examination of the Charity’s accounts carried out under Section 145 of the Act and in carrying out my examination I have followed all applicable Directions given by the Charity Commission under section 145 (5)(b) of the Act. ## Independent examiner’s statement I have completed my examination. I confirm that no material matters have come to my attention in connection with the examination giving me cause to believe that in any material respect: 1. accounting records were not kept in respect of the Charity as required by Section 130 of the Act; or 2. the accounts do not accord with those records; or 3. the accounts do not comply with the applicable requirements concerning the form and content of accounts set out in the Charities (Accounts and Reports) Regulations 2008 other than any requirement that the accounts give a true and fair view which is not a matter considered as part of an independent examination. I confirm that there are no other matters to which your attention should be drawn to enable a proper understanding of the accounts to be reached. 16 ## STATEMENT OF FINANCIAL ACTIVITIES FOR THE YEAR ENDED 31 JULY 2024 |Notes
INCOME AND ENDOWMENTS
Donations and legacies
Charitable activities
Total Income
EXPENDITURE
Charitable activities
**3**
NET INCOME/ (EXPENDITURE)
RECONCILIATION OF FUNDS
Total funds brought forward
TOTAL FUNDS CARRIED FORWARD|2024
2023
£
£
14,041
86,345
17,257
18,476
31,298
104,821
64,370
65,808
(33,072)
39,013
52,530
13,517
19,458
52,530|2023
£
86,345
18,476| |---|---|---| |||
13,517| |||52,530| 17 ## **BALANCE SHEET** ## **AT 31 JULY 2024** |||2024|2023| |---|---|---|---| ||Notes|£|£| |CURRENT ASSETS|||| |Cash at bank||24,458|54,264| |||24,458|54,264| |CREDITORS|||| |Amounts falling due within one year|**5**|(5,000)|(1,734)| |NET CURRENT ASSETS||19,458|52,530| |TOTAL ASSETS LESS CURRENT LIABILITIES||19,458|52,530| |FUNDS|||| |Unrestricted funds|**6**|19,458|52,530| |TOTAL FUNDS||19,458|52,530| 18 **NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 JULY 2024** 19 STAFF COSTS 2024 2023 Staff costs These consisted of payments to events personnel who assisted in preparing and delivering activities during the Festival. This figure also includes performance fees for all the participating artists at the event. DEBTORS There were no debtors as at 31 July 2024. CREDITORS: AMOUNTS FALLING DUE WITHIN ONE YEAR 2024 2023 Accruals Other creditors TOTAL CREDITORS 500 MOVEMENT IN FUNDS At l August Net movement 2023 in funds At 31 July 2024 Unrestricted funds General fund 52,530 (33.072) 19,458 Net movement in funds included in the above are as follows: Incoming resources Resources expended Movement in funds Unrestricted funds General (L￿a TOTAL FUNDS RELATED PARYY DISCLOSURES There were no related party transactions for the period ended 31 July 2024. 20