# **THE CARICE SINGERS**
## **Registered Charity Number 1170689**
TRUSTEES’S REPORT AND FINANCIAL STATEMENTS FOR THE YEAR ENDED 31[st] DECEMBER 2024
## **CONTENTS**
Reference and administrative details of the charity, its trustees and advisers
Trustees’ report
Independent examiner’s report
Statement of financial activities
Balance sheet
Statement of cash flows
Notes to the financial statements
## **REFERENCE AND ADMINISTRATIVE DETAILS OF THE CHARITY, ITS TRUSTEES AND ADVISERS FOR THE YEAR ENDED 31 DECEMBER 2023**
## **Trustees**
D HODGES (resigned 23 July 2024) O HUGH-JONES (joined 23 July 2024) C KING N MERCIECA (joined 23 July 2024) G PARRIS J SYNGE M TATTERSALL
## **Charity registered number**
1170689
## **Charity registered address**
Fexloe House, Main Street, Oxhill, Warwickshire, CV35 0QR
## **Charity staff**
George Parris – Artistic Director Will Wright – Singer Representative Karen Malim – Fundraising and Development Consultant
## **Honorary Treasurer**
James Synge
## **Independent examiner**
John McKail
Page 1
**THE CARICE SINGERS**
**TRUSTEES’ REPORT FOR THE YEAR ENDED 31 DECEMBER 2024**
The trustees present their annual report together with the financial statements of the charity for the year 1 January 2024 to 31 December 2024. The Trustees confirm that the Annual Report and financial statements of the charity comply with the current statutory requirements for charities. The financial statements have been reviewed by an Independent Examiner as required by statute.
## **Objectives and Activities**
## **a. Policies and objectives**
The objectives of the charity are for the public benefit:
To advance, improve, develop and maintain public education in the arts and in particular the appreciation, promotion and practice of choral music by means agreed by the trustees, including through the presentation of concerts, the provision or workshops, the commissioning of new works and the production of recordings.
## **Values**
The operations, policies and practices of The Carice Singers are guided by a value framework that shapes our approach and drives the work we deliver, embodying a commitment to building something that outlasts us all. They include:
- **Excellence** - inspiring through sound, precision, imagination, and ambition
- **Curiosity** - combining an infinite mindset with a meaningful effort to explore
- **Generosity** - listening to and learning from everyone we engage with; sharing our thoughts and ideas with each other and the wider sector, for the benefit of all
- **Transparency** - responsible leadership and respect for the well-being of all
- **Positivity** - finding the lessons, fulfilment, and humour in everything we do
## **Mission Statement**
The Carice Singers envisions a new, outward-facing approach to being a professional choir: one that is not only dedicated to enriching lives, but also to pushing artistic boundaries, and fostering an inclusive environment that encourages meaningful musical exploration by audiences and artists. At a time when the industry is increasingly risk averse, The Carice Singers emerged from the Pandemic as a collaborative ensemble (and the first non-salaried professional choir to offer its freelancers sick pay) where performers have the resources, direction, and space to master complexity, perform with conviction, and produce a world-class sound.
## **Background**
Founded in 2011 by Artistic Director George Parris (then 18 years of age) with a group of young singers, but active in a professional context since 2018, over the last twelve months the choir has gained acclaim for its “clarity and beauty and balance of sound” (Oliver Soden), “unique precision” (Paweł Łukaszewski), and “exquisite, bold programming” (Royal Philharmonic Society). The ensemble is not only making a significant contribution to the UK’s
Page 2
## **THE CARICE SINGERS**
## **TRUSTEES’ REPORT (continued) FOR THE YEAR ENDED 31 DECEMBER 2024**
cultural landscape, but is also indispensable as a beacon of excellence, variety, and freshness in the UK choral scene.
## **b. Strategies for achieving objectives**
1. To inspire our audiences with work of the highest artistic calibre
2. To provide our audiences with pre-concert talks and workshops which contextualise our chosen repertoire and encourage them to draw their own interpretations from the music
3. To cultivate new audiences for choral music by undertaking our work in an inclusive and welcoming atmosphere
4. To undertake projects which enable the ensemble to travel out of the metropolis and bring our performances to areas of the UK that normally do not have access to a high level of music-making
5. To develop policies and procedures which safeguard all those who work with us, and communicates what we stand for to our partners, audiences, and members of the public
6. To develop an ethical and environmentally sound approach to all aspects of our work
## **c. Main activities undertaken to further the charity’s purposes for the public benefit**
The Trustees have paid due regard to the Charity Commission’s guidance on public benefit when reviewing their aims and objectives and planning future activities. Below is a record of the public benefit activities for 2024.
The Carice Singers undertook 9 public engagements during the year, including the New Voices Academy (a week-long education scheme for early-career composers at the Three Choirs Festival).
The main project in 2024 was a celebration of Gustav’s Holst 150th Anniversary, which included three ‘Stargazers’ concerts with harpist Olivia Jageurs at St Martin-in-the-Fields, Lichfield Cathedral, and St James’ Church, Chipping Campden, in Gloucestershire. The project also featured a new commission supported by the Vaughan Williams Foundation – _Weaving Stars_ by Electra Perivolaris – which was performed at each of the concerts. A video recording of the premiere performance was also uploaded to YouTube.
The Carice Singers also made significant steps in its commitment to contemporary choral music, collaborating with Riot Ensemble to perform a memorial concert for the revered Finnish composer Kaija Saariaho on the first anniversary of her passing at Kings Place, commissioning _Weaving Stars_ from Electra Perivolaris, giving a platform to new vocal music at the Spitalfields Music Festival, and providing tuition to early-career composers during the New Voices Academy. The group also appeared on an EP of new music called _A Moment of Deathlessness_ , featuring work from the composer Jean-Loup Pinson, which was released in November 2024.
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## **THE CARICE SINGERS**
## **TRUSTEES’ REPORT (continued) FOR THE YEAR ENDED 31 DECEMBER 2024**
## **Achievements and performance**
## **a. Key financial performance indicators**
The accounts are prepared on the accepted basis of receipts and payments. The overall cash flow was £602 negative, on a total income of £66,893. This compares with £2,665 positive and £75,676 respectively in the prior year.
Income received from engagements remains a core element of the charity’s financial stability. In 2024, this figure made up 60% of total income, against 62% the previous year. Ticket income made up 4% of total income this year. Donations given by individuals or Trusts and Foundations supported 32% of the charity’s total yearly income, bringing in a total of £21,353 (without Gift Aid).
In terms of expenditure, total direct costs of all events totalled 93% of total expense.
For the detailed financial statements please see the end of this report.
## **Review of activities**
2024 was an exciting year of significant further exploration for The Carice Singers, involving performances at new locations along with more regular venues which gained very positive feedback from our audiences as well as critical acclaim.
Our celebration of Gustav Holst’s 150th anniversary saw us resurrecting unjustly forgotten choral works from this quiet visionary of British music. Our concert programme, ‘Stargazers’, aimed to contextualise and promote an appreciation of Holst’s far-reaching eclecticism which included English folksong, ancient Indian texts, and cosmic landscapes.
Commissioning _Weaving Stars_ from Electra Perivolaris, with the generous support of the Vaughan Williams Foundation, strategically aligned with Gustav Holst’s creative vision and added another work to the repertoire for choir and harp. Electra described the collaboration as “particularly enriching”, as “it is united by our shared interest in Nordic/Scottish musical traditions and expression of the natural works and landscape in choral music, enabling me to explore new compositional techniques which express the tensions and resonances between human life and nature.” Artistic Director, George Parris, added that “Electra’s vocal music, as it develops, requires a certain degree of repetitive rehearsal and therefore muscle memory, and from this physicality the listener gains an impression of sound that is deeper, personal, and very expressive. For this reason I find her music compelling and very beautiful – richly rewarding to perform – and the atmosphere she has created in _Weaving Stars_ has made this work particularly special, as well as very enthusiastically received by our audiences.”
Our sold-out memorial concert for Kaija Saairaho, “Into the Light”, saw us team up with Riot Ensemble at Kings Place to honour her significant contribution to choral music and her limitless, iridescent imagination. Saariaho’s final, powerful choral work _Reconnaissance_ (2021) was the concert’s centrepiece, already described as “the most important choral work composed on this side of the turn of the millennium” ( _MusicWeb International_ ). This was still
Page 4
## **THE CARICE SINGERS**
## **TRUSTEES’ REPORT (continued) FOR THE YEAR ENDED 31 DECEMBER 2024**
one of its early performances. The programme also included the UK Premiere of Lotta Wennäkoski’s _Valossa_ and Jonathan Harvey’s final work, _Plainsongs for Peace and Light_ . Feedback from audience members ranged from: “Exquisite, bold programming that should be heard again” (James Murphy, Royal Philharmonic Society), to “I am increasingly in awe at what you achieve — a clarity and beauty and balance of sound, in such daring and valuable repertoire”; “It was a vast learning curve, and certainly my first atonal event! Once I had got my surprised ear into the right mode, I was full of admiration for their clarity and extraordinary skill”; “So moving and so beautiful”; and “f**king bonkers!”.
“High-vis vest and hard hat, judge’s wig and gown, hoodie and skateboard aren’t the usual uniform for a choir”, wrote Rebecca Franks in _The Times_ . And yet, this is what members of The Carice Singers cheerfully donned to bring out the levity and everydayness of Luciano Bero’s Seventies vocal soundscape _Cries of London_ at the Spitalfields Music Festival in July, “engaging sung and…sounding fresh as ever”. Marking the third year of a partnership between Spitalfields Music and Cheltenham Music Festival Composer Academy, _Cries of London_ was presented together with the London premieres of six works created at 2023 Composer Academy, with each composer present to introduce their work and meet invited industry professionals at a post-concert reception.
Later in July, The Carice Singers were invited to be the ensemble in the inaugural New Voices Academy held at the Three Choirs Festival. NVA is a new education scheme for early-career composers providing workshop, showcase, recording, and networking opportunities with Course Director Daniel Kidane. It was established with the advice of a number of music creators and industry professionals, to be a scheme that responds to the most urgent needs of today’s emerging composers. Feedback from participants was overwhelmingly positive, for example: “It was a real joy and a pleasure to be a part of … a really special and momentous experience.” David Wordsworth, a conductor who attended the showcase, wrote afterwards that NVA was “a completely invaluable experience for any composer, let alone one at the start of their career” and Darren Xu, a composer who attended the showcase, posted on X: “@thecaricesingers are monsters. In the sense that they devour lots of new music in no time and spit out amazing performances.”
Page 5
## **THE CARICE SINGERS**
## **TRUSTEES’ REPORT (continued) FOR THE YEAR ENDED 31 DECEMBER 2024**
## **Membership and Support**
The Carice Singers is enormously grateful to its many Friends, Benefactors and other donors whose support is vital to realising artistic ambitions and helping to secure the future. In 2024, the number of our supporters was 40.
Along with donations from individuals, the charity is extremely grateful to the Trusts and Foundations who supported the charity in 2024.
## **Financial Review**
## **a. Going concern**
After making appropriate enquiries, the Trustees have a reasonable expectation that the charity has adequate resources to continue in operational existence for the foreseeable future. For this reason they continue to adopt the going concern basis in preparing the financial statements.
## **b. Investment policy and performance**
Under the Charity’s Constitution the charity has the power to invest in any way the Trustees see fit.
The charity has so far not made any major investments nor does it plan to in the foreseeable future.
## **Financial risk management objectives and policies**
The financial objective of The Carice Singers is to raise sufficient annual income to cover the expenditure of the year whilst generating surplus funds to maintain reserves at levels which match potential future liabilities and risk so that the financial viability of the charity is assured.
The charity aims to spread financial risk across the main sources of income including performance fees, ticket sales, philanthropic donations, and money from Trusts and Foundations. The charity continues to regularly review its plans to increase these levels of income, across all main sources, as well as further economising on expenditure where possible.
## **a. Principal risks and uncertainties**
The principal risks facing The Carice Singers include:
- The expense of putting on events and making recordings, together with the accompanying costs involved with being a professional vocal ensemble which is larger than most others (e.g. singers’ fees, transportation, accommodation)
- Financial uncertainty related to Brexit particularly with regard to the impact on securing engagements in Europe (which are often more financially generous than in the UK) as well the impact on financial support from individual donors
Page 6
## **THE CARICE SINGERS**
## **TRUSTEES’ REPORT (continued) FOR THE YEAR ENDED 31 DECEMBER 2024**
- Financial uncertainty related to the long-term impact of the COVID-19 Pandemic with regard to the continued caution or volatility preventing the charity’s activities from taking place (either as a whole or in their fully realised versions) and the general recovery of the cultural sector as a whole
- Competition from other arts organisations, in particular professional vocal ensembles, that could impact the number of engagements, donations, ticket sales, and the availability of musicians
- Practicalities of working with musicians at the beginning of their careers, with regard to the prospect of financial strains and or other professional hardships facing these persons, made all the more uncertain by the recent volatility of the cultural section in general.
## **b. Reserves policy**
Reserves are generally no more or less than the bank and cash balance, although certain income received is restricted for use towards specific purposes. If funds have been received for specific purposes then such amounts will be shown in the accounts as used or held as restricted. The trustees are working towards building up the charity’s unrestricted reserves over the next few years in order to ensure that at least 6 months of overheads can be afforded at any one time.
## **c. Principal funding**
The principal funding sources for the charity include a) funds received from music festivals or music venues/societies who wish to engage the charity for a performance for an agreed amount b) revenue collected as ticket or CD sales which comes from the general public at the charity’s own events c) donations given by individuals or Trusts and Foundations d) Gift Aid received as a result of these donations.
## **Structure, governance and management**
## **a. Constitution**
The Charity, also referred to as ‘the Charity’ is registered as a charitable incorporated organisation (CIO) whose only voting members are its charity trustees.The Charity was incorporated on 12 December 2016 and commenced trading on that date. The principal objects of the CIO are for the public benefit: to advance, improve, develop and maintain public education in the arts and in particular the appreciation, promotion and practice of choral music by means agreed by the trustees, including through the presentation of concerts, the provision or workshops, the commissioning of new works and the production of recordings.
## **b. Method of appointment or election of Trustees**
The management of the Charity is the responsibility of the Trustees who are responsible for the appointment or election of new Trustees under the terms of the Constitution.
Page 7
## **THE CARICE SINGERS**
## **TRUSTEES’ REPORT (continued) FOR THE YEAR ENDED 31 DECEMBER 2024**
## **c. Policies adopted for the induction and training of Trustees**
New Trustees receive a copy of the current version of the Constitution as well as a copy of the Charity’s latest Trustees’ Annual Report and statement of accounts before his or her first appointment or trustees’ meeting. Thereafter, the new trustee is introduced to key employees and other Trustees and is invited to upcoming performances given by the charity.
## **d. Organisational structure and decision making**
The Trustees are responsible for the overall governance of the charity and all key decisions affecting direction of the charity. The Board of Trustees delegates the day to day management of the charity to the charity staff members including the Artistic Director, Projects Administrator, and the Treasurer.
## **e. Pay policy for staff**
The remuneration of staff is reviewed annually by the Board of Trustees and is kept in line with other similar arts organisations.
## **f. Connected persons**
In his role as Artistic Director, George Parris received artistic fees of £4,755 in 2024 as well as a fee of £2,000 for general administration as agreed by the trustees and as per clause 6. 2. a. of the Charity Constitution.
Olivia Hugh-Jones, who became a trustee in July 2024, received artistic fees of £1,134 in 2024 as agreed by the trustees and as per clause 6. 2. a. of the Charity Constitution.
Nathan Mercieca, who became a trustee in July 2024, received artistic fees of £527 in 2024 as agreed by the trustees and as per clause 6. 2. a. of the Charity Constitution.
## **g. Trustees’ indemnities**
If the CIO is wound up, the charity trustees have no liability to contribute to its assets and no personal responsibility for settling its debts and liabilities.
## **Plans for future periods**
The trustees’ main aim is for the quality of the charity’s work to keep increasing, together with the scope and reach of its projects, and to continue forging a meaningful approach to how it engages with people, continues to collaborate with other musicians, and provides opportunities for learning and development.
The charity’s artistic vision will continue developing to find ways in which it can focus its programming of repertoire, where disparities can be strategically presented together, and opportunities where stories and contexts behind the music can be unwrapped for listeners in a way that is compelling. It will be presenting a major project marking the 90th birthday of
Page 8
Arvo Pärt in 2025 with these aspects of storytelling and compelling experiences. The trustees plan to continue developing the charity’s support of early-career composers and singers, not so much because they might be the next generation, but because the trustees believe that fresh creativity and originality is well worth facilitating and celebrating at this moment in our history.
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## **THE CARICE SINGERS**
## **[Charity no. 1170689]**
## **Receipts & Payments Account For The Year Ended 31 Dece**
||**2024**|
|---|---|
|**Receipts**|**£**|
|Engagement Fees|40,228|
|Tickets and Programmes|2,204|
|CD Sales|10|
|Friends and Benefactors|11,735|
|Other Donations|9,618|
|Gift Aid Recovery|3,098|
|**Total**|**66,893**|
|**Payments**||
|Artists fees & expenses|51,027|
|Venue Hire|2,851|
|Printing/Stationery/Website|994|
|Advertising|390|
|Music & Materials|2,071|
|Commissioning fees|1,900|
|Bank Charges|62|
|Fundraising and Stewardship|4,471|
|Administration and Production expenses|3,730|
|**Total**|**67,495**|
|||
|**Net Cash Surplus/(Defcit) For The Year**|**(602)**|
|**Cash Funds Brought Forward Last Year**|**5,566**|
|**Cash Funds Carried Forward This Year**|**4,964**|
|**The Carice Singers**|||**Analysis of Books to Receipts and Payments Categories**|**Analysis of Books to Receipts and Payments Categories**|**Analysis of Books to Receipts and Payments Categories**|**Analysis of Books to Receipts and Payments Categories**|**Analysis of Books to Receipts and Payments Categories**|**Analysis of Books to Receipts and Payments Categories**|**Analysis of Books to Receipts and Payments Categories**|**Analysis of Books to Receipts and Payments Categories**|**Analysis of Books to Receipts and Payments Categories**|**Analysis of Books to Receipts and Payments Categories**||||||Carice Singers|||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
|**RECEIPTS & PAYMENTS FOR FILIN**|**G PURPOSES**||**Year to 31 Dec**||**2024**||||||||||||~~Fndraisin~~|Code Totals Jan-23 to Jun-24|||||||
|Account:|**BANK and CASH**||Fees|Tickets
& Prog|
CD
Sales|F &B
|Other
Donations|
Gift Aid
recovery|
Artists fees
&
expenses|
Venue
Hire|
Printing/
Stationery/
Website|Advert
|Producer /
Engineer|
Music &
Materials|Sundry
|Salaries &
Other
Admin|
~~g~~
/
stewardsh
ip|VAT:|Included||||||
||||||||||||||||||||||||||
|Class|Net Income|Net
Expenditure||||||||||||||||Class|Net Income|Net Expenditure|||||
|EVENT INCOMEgroup|||||||||||||||||||||||||
|INC1 Engagement Fees|40,227.79||40,228|||||||||||||||INC1 Engagement Fees|40,227.79||0||||
|INC2 Tickets, programmes|2,203.79|||2,204||||||||||||||INC2 Tickets, programmes|2,203.79||||||
|INC4 Grants/specfc(Crowdfunding)|9,618.00||||||9,618|||||||||||INC4 Grants/specfc(Crowdfunding)|9,618.00||||||
|ZREC Receipts for future events|0.00|||0||||||||||||||EXP1 Choir Fees||-38,260.00|-38260|0.00|||
|||||||||||||||||||EXP2 Instrumentalists/soloists||-3,030.12|-3030.12|0.00|||
|EVENT EXPENDITUREgroup||||||||||||||||||EXP3 Conductor||-5,075.00|-5075|0.00|||
|EXP1 Choir Fees||-38,260.00|||||||38,260|||||||||EXP4 Sheet Music||-2,071.27|-2071.27|0.00|||
|EXP2 Instrumentalists/soloists||-3,030.12|||||||3,030|||||||||EXP6 Venue/equipment Hire||-2,851.00|-2851|0.00|||
|EXP3 Conductor||-5,075.00|||||||5,075|||||||||EXP7 Fixer||-1,329.50|-1329.5|0.00|||
|EXP4 Sheet Music||-2,071.27||||||||||||2,071||||EXP9 Printng& Postage||-75|-75|0.00|||
|EXP6 Venue/equipment Hire||-2,851.00||||||||2,851||||||||EXP11 Travel||-4,057.60|-4057.6|0.00|||
|EXP7 Fixer||-1,329.50|||||||||||1,330|||||EXP12 Catering||-604.12|-604.12|0.00|||
|EXP9 Printng& Postage||-75.00|||||||||75|||||||EXP14 Advertsing||-390.00|-390|0.00|||
|EXP11 Travel||-4,057.60|||||||4,058|||||||||OI1 CD Sales|10|||0.00|||
|EXP12 Catering||-604.12|||||||604|||||||||OI2 Donatons|262.75|||0.00|||
|EXP13 Sundry||0.00|||||||||||||0|||OI3 Friends|1,941.96|||0.00|||
|EXP14 Advertsing||-390.00||||||||||390||||||OI4 Benefactors|9,530.64|||0.00|||
|EXP15 Administraton||0.00|||||||||||||0|||OI5 Gif Aid Tax recovery|3,098.08|||0.00|||
|EXP16 Photographer||0.00|||||||||||||0|||GE1a Fundraising/stewardship||-4,470.84|-4470.84|0.00|||
|ZPAY Payments for future events||0.00|||||||||0|||||||GE2a Producer fees||-2,400.00|-2400|0.00|||
|||||||||||||||||||GE7 Website & IT||-804.67|-804.67|0.00|||
|GENERAL INCOMEgroup||||||||||||||||||GE8 Printng& Statonery||-113.98|-113.98|0.00|||
|OI1 CD Sales|10.00||||10|||||||||||||GE9 Bank charges||-62.00|-62|0.00|||
|OI2 Donatons|262.75|||||263||||||||||||GE10 Commissions||-1,900.00|-1900|0.00|||
|OI3 Friends|1,941.96|||||1,942||||||||||||Grand Total|66,893.01|-67,495.10|-67495.1|0|||
|OI4 Benefactors|9,530.64|||||9,531||||||||||||Cash Flow||-602.09|||||
|OI5 Gif Aid Tax recovery|3,098.08|||||||3,098||||||||||Cash Flow/Income %|-0.9||||||
|OI7 Other income||0.00|||||||||||||0||||||||||
||||||||||||||||||||||||||
|GENERAL EXPENDITUREgroup|||||||||||||||||||||||||
|GE1 General Advertsing&publicity||||||||||||0|||||||||||||
|GE1a Fundraising/stewardship||-4,470.84|||||||||||||||4,470.84||||||||
|GE2 G Parris stpend|||||||||0||||||||||||||||
|GE2a Producer fees||-2,400.00|||||||||||2,400||||||||||||
|GE2b Travel(non-choir)||0.00||||||||||||||0|||||||||
|GE3 AuditoningCosts|||||||||0||||||||||||||||
|GE4 Insurance||0.00|||||||||||||0||||||||||
|GE10 Commissions||-1,900.00|||||||||||||1,900||||||||||
|GE6 LibraryCosts|||||||||||||||0||||||||||
|GE7 Website & IT||-804.67|||||||||805||||||||||||||
|GE8 Printng& Statonery||-113.98|||||||||114||||||||||||||
|GE9 Bank charges||-62.00|||||||||||||62||||||||||
||||||||||||||||||||||||||
||||||||||||||||||||||||||
|**Total Bank**|66,893.01|-67,495.10|40,228|2,204|10|11,735|9,618|3,098|-51,027|-2,851|-994|-390|-3,730|-2,071|-1,962|0|-4,471||||||||
|Check vs MM|66,893.01|-67,495.10|- 602||||||||||||||||||||||
||-|- 602.09|0.00||||||||||||||||||||||
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CHARITY COMMISSION
FOR ENGLAND AND WALES
Independent examiner's
report on the accounts
Section A
Independent Examiner's Report
Report to the trusteesl
members of
The Carice Singers
On accounts for the year
ended
31° December 2024
Charity no
(if any}
1170689
Set out on pages
Page headed "ReiptS & Payments Account.
irnclude 1r,fr page iidrrDeis i
I report to the trustees on my examination of the acunIS of the above
charity (Ihe Trust.) for the year ended 3111212024
Responsibilities and As the charity trustees of the Trust. you are responsible for the preparation
basis of report of the accounts in accordance with the requirements of the Charities Ad
2011 {"the Act.).
I report in spect of my examination of the Trust's accounts carried out
under sedion 145 of the 2011 Act and in carying out my examination, I
have followed the applicable Directions given by the Chanty Commission
under section 145(5){b} of the Act.
I have completed my examinalion. I confimi that no material matters have
come to my attention (other than that disclosed below ') in connection with
the examination which gives me Gause to believe that in, any malerial
respect:
accounting records were not kept in accordance with sedion 130 of
the Act or
the arKounts do not accord wrth the accounting records
Independent
examiner's statement
I have no conGems and have come across no other matters in connection
with the examination to whith attention should drawn in order to enable a
proper understanding of the accounts lo be reached.
. Please delete the words in the brackets rfthey do not apply.
Signed".
Date:
Name:
cKail CA
Relevant professional
qualificationls} or body
lif any):
Chartered Accountant
Address:
Brarnbles, Back Lane
Oxhill
Wa1ckshlre CV35 OQN
IER
October 2018