THE HIGHGATE CHORAL SOCIETY TRUSTEES’ REPORT 2022/23
Charitable Objects
The objects of the Charity are the advancement of arts and culture, in particular the art and culture of music, by the presentation of concerts and other ancillary activities. The Charity pursues its objects principally through holding public concerts, but also undertakes additional activities to support the local community and engage with other charities and schools in our area. The Trustees of the Charity are aware of the general guidance issued by the Charity Commission on public benefit. They have regard to this guidance in deciding what activities the Charity should undertake.
Constitution
Highgate Choral Society, originally founded in 1878, has been registered in its current form as a Charitable Incorporated Organisation (CIO) with the Charity Commissioners under charity registration number 1191240 since 11[th] September 2020.
Musical Activities
After a somewhat nerve-racking 2021/22 season – thanks to the continuing presence of Covid, I am delighted to report that Highgate Choral Society’s 2022/23 season ran smoothly. As well as our usual five concerts, we held a successful international singing tour to Leiden and Delft in the Netherlands, we sang in several concerts in central London for commercial promoter Raymond Gubbay and we joined the North London Symphony Orchestra as guest choir for a performance of Beethoven’s Ninth in June.
As usual, our repertoire over the season included a mix of popular choral works and lesserknown pieces – including Ralph Vaughan Williams’ The Garden of Proserpine , a rarely performed work which we sang in celebration of the 150[th] anniversary of the composer’s birth. We also premièred two pieces, both composed by our musical director and conductor, Ronald Corp OBE. The first was the world première of his Symphony No 3 : the second, a first performance for HCS of Music , a short piece with words taken from a poem by Walter de la Mare.
We are particularly grateful to Ron for his boundless patience, enthusiasm and inspirational musical direction over the year. He challenges us with his varied programme selections and we benefit so much from his extraordinary musical knowledge and the insights he gives us, both in rehearsals and in his pre-concert talks, into the works we perform. We are also grateful to Alexander Wells, our accompanist, not just for his piano-playing talents, but for rising above the inadequacies of the piano he has to play on.
Our first concert of the 2022/23 season was held on Saturday 12[th] November 2022 at All Hallows’ Church, Gospel Oak. In honour of the 150[th] anniversary of Vaughan Williams’ birth, we sang The Garden of Proserpine , a rarely performed piece in which the composer sets Swinburne’s tragic pre-Raphaelite poem to music. We are deeply grateful to the Vaughan Williams Charitable Trust for their generosity in supporting our performance.
HCS musical director Ron Corp then conducted the world première of his Symphony No 3 . The piece, which is dedicated to the memory of his late friend and long-time HCS member Naomi Lobbenberg, deals with the darkness and grief he experienced at her passing.
The final piece, sung by the choir, was Mozart’s Requiem in D minor (K626). The composer was writing this beautiful piece of music as he lay dying and, although it was commissioned by Count Franz von Walsegg to commemorate the first anniversary of the death of his young wife, Mozart came to believe that the music was for his own funeral. Indeed, the opening Requiem aeternam and Kyrie movements were virtually complete at the time of Mozart’s death, and it is thought they were performed at his own requiem in Vienna. Mozart’s wife, Constanze, then commissioned Mozart’s pupil Franz Süssmayr to complete the work.
For the concert, we were joined by the New London Orchestra and talented soloists Eleanor Pennell-Briggs (soprano), Emma Jüngling (mezzo soprano), Henry Ross (tenor) and Sam Evans (bass).
Our second concert, on Saturday 3[rd] December 2022, was our ever-popular, sell-out Family Carols where we sing together with the choir of St Michael’s Church of England Primary School. They brought a particularly joyous and enthusiastic element to the concert and their contribution was enjoyed by one and all. At the end of the concert, we held a bucket collection for two local charities nominated by choir members, Food Bank Aid and Highgate Newtown Community Centre. Thanks to the generosity of choir members and our audience, they managed to raise an astonishing £1,410 – a record for us – and each went home with £705 for their coffers.
For our March concert, which took place on Saturday 11[th] March 2023, we sang Johann Sebastian Bach’s magnificent choral work, the St John Passion .
In 1723 Bach moved to Leipzig where his duties as newly appointed Kantor included composing the music for the city’s two principal Lutheran churches. Written probably during Lent in 1724, his St John Passion was first performed in the church of St Nicholas on Good Friday, 7th April 1724. It was heard four times during Bach’s lifetime, each time with substantial alterations.
The St John Passion sets the dramatic Passion story of Christ’s trial and crucifixion as told in the Gospel of St John. The Biblical text at its core is drawn from the Lutheran translation and is sung by the tenor taking the role of the Evangelist.
Scored for mixed choir, soloists and orchestra, the rich structure of this ‘oratorio-Passion’ includes: two monumental choruses that open and close the work; the Gospel narrative describing scenes in the Kidron Valley, Caiaphas’ palace, the Garden of Gethsemane, Pilate’s quarters, Golgotha and the burial site; solo arias that contemplate and comment on the unfolding events; and simpler chorales representing the response of ordinary congregations hearing the Passion story.
The choir was joined by the New London Orchestra, soprano Lucy Hall, mezzo soprano Catherine Hopper, tenor William Morgan, baritone Timothy Nelson and bass Dingle Yandell.
Moving on to our Spring concert, we sang a mix of French, German and English music, including the ever-popular Duruflé Requiem, on Saturday 20[th] May at St Michael’s Church, Highgate. The choral work, dedicated to the memory of Duruflé’s father, is an adaptation of
the Gregorian Missa pro defunctis (Mass for the Dead) that draws its musical themes from the original Gregorian chant. It was completed in September 1947 and was first heard two months later on French Radio. Modelled to some extent on Fauré’s Requiem , the work is in nine movements and is distinguished by its calm, meditative atmosphere and subtle, richly expressive modal harmonies. With its emphasis on ‘the idea of peace, of faith and of hope’, Duruflé omitted most of the liturgical Dies irae , but included part of the Pie Jesu , as well as the Libera me and In paradisum from the burial service. Duruflé’s sensuous harmonies suffuse every note with feeling; and while the fluid rhythm of plainsong is essentially incompatible with modern bar-lines, the composer instinctively overcame this obstacle to create a work of unimpeachable integrity, a miraculous synthesis of old and new. ‘This Requiem is not an ethereal work which sings of detachment from human concerns,’ he said. ‘It reflects, in the unchanging form of Christian prayer, the anguish of man faced with the mystery of his final end.’
Like the Mozart Requiem , Duruflé’s version was performed at his own memorial service in 1986 as a tribute to his life and work.
The choir also sang God is Gone Up by Gerald Finzi, Duruflé’s Ubi Caritas et Amor , Parry’s Blest Pair of Sirens , and Brahms’ Geistliches Lied .
Our two young soloists, mezzo soprano Carolyn Holt and baritone Mark Nathan, both sang solos: Carolyn performed Softly and Gently from Elgar’s Dream of Gerontius while Mark sang Lord God of Israel from Mendelssohn’s Elijah . Edward Batting, our organist for the concert, also played two organ solos: Es ist ein Ros entsprungen by Brahms and Chorale prelude St Ann’s by Parry.
Our last concert, on Saturday 9[th] July 2023 at All Hallows, was an eclectic mix of comparatively recent music. As a choir, we sang that beautifully engaging jazz mass – Will Todd’s Mass in Blue – accompanied by the outstanding vocals of soprano Sarah Gabriel, and backed by double bass, drums and piano. We also sang – for the first time – Music , our musical director, Ron Corp’s lovely setting of a Walter de la Mare poem. We were also treated to an opportunity to hear Simon Blendis, leader of the London Mozart Players and one of the UK's most sought-after violinists, accompanied by his wife Saoko on piano, introducing and playing a selection of Max Jaffa Favourites on Max's own violin made in 1704.
The concert was dedicated to Father David Houlding who was retiring as vicar of All Hallows', Gospel Oak, after nearly forty years in the parish.
Summing up the concert, Ron Corp said: "This was a wonderfully joyous finish to our busy year. We are very lucky to have been able to include Simon and Saoko's unique insight into the world of Max Jaffa and have them perform six of his greatest numbers, that many people will remember from the days of the Palm Court Orchestra broadcast on the BBC.
"We are also delighted to be performing Will Todd's Mass in Blue which is a particular favourite of the choir and to be celebrating with Father Houlding who will be sadly missed by all who have worked with him in the All Hallows' area."
Another highlight of the 2022/23 season was the HCS tour to Leiden and Delft where we sang in three stunning churches – the Hooglandeskerk and Hartebrugkerk in Leiden, and the Maria van Jessekerk in Delft. The trip was a huge success, thanks to a team of very hard-working
choir members led by trustees Ursula Taylor and Emily Finch, and in fact our soloist on the trip, mezzo soprano Emma Brown, who lives in Leiden, came to the UK and sang the alto part in Mendelssohn’s Elijah at our November 2023 concert.
HCS members also sang in various Gubbay events, including The Messiah at the Royal Festival Hall and Beethoven’s Ninth at the Barbican.
Overall, audience attendance was similar to the previous year but perhaps had not continued to revive quite as fulsomely as we had hoped post-Covid.
Governance
The administration of the Charity is the responsibility of the Trustees who are all unpaid members of the Charity elected by its members in accordance with the constitution.
During the year Charlotte Goss had resigned as a Trustee and at the AGM on Monday 15[th] May five others resigned and did not choose to stand for re-election – Julia Irvine, Andrea Sylvester, Siobhan D’Gama, Andrea Sabbadini and Cindy Walters. Four new Trustees were elected – Michael Church, Michaela Drapes, Felicity Dirmeik and Janet Floyd. This brings the current number of Trustees to thirteen.
The Trustees meet regularly amongst themselves, and also with our Musical Director who is not a Trustee, but is invited to attend our meetings. The Trustees have met throughout the year both in person and virtually.
The Trustees met six times during the year to consider and make decisions on future musical plans, the financial position of the charity, the membership, operational matters and key policies appropriate to the running of the choir.
Membership
Membership numbers ended up at a very healthy 197, slightly ahead of the previous year. It seems that any uncertainty born of Covid has largely been left behind. Of these 155 were full paying members for the whole year, the balance comprising those who joined part way through the year or took advantage of our under 35 and unwaged subscription rates.
Finance
The result for the year was a very satisfactory surplus of £3,381, allowing us to carry forward a cumulative reserve of £48,702 and a Commissioning Fund balance of £13,881. Ticket prices remained the same, whilst subscription rates rose by 4%. As ever, the Trustees are mindful of the inexorable rise of costs and the limitations on being able to increase income commensurately.
Independent Examiner
We are very grateful to chartered accountant Richard Morris, our independent examiner, for all the support and advice he has given us over the year.
Acknowledgements
At the end of my first year as Chair, I would like to express my grateful thanks to the many Trustees and other choir members whose voluntary labours keep us running to such high levels
of achievement. But above all may I thank Andrea Sylvester for her 13 long years of service to the choir in many roles and as Trustee and, in particular, Julia Irvine of equal longevity in as many roles and latterly as Chair overseeing our transition from unincorporated to incorporated charity and steering us through the vicissitudes of Covid so seamlessly. I am also most grateful to Julia for agreeing to and continuing to write the weekly newsletter which is the highlight of our week.
Last but not least I would like to thank all of our members who have given me such encouragement and welcome as Chair. My thanks to all of you for helping to make this such a lovely and rewarding choir to belong to.
Conclusion
This has been a good year for the choir. We have sung some great music, and we have had a successful and enjoyable tour to the Netherlands. We look forward to continuing our efforts to reach the highest standards in musicality, and to bring our music to as wide and diverse an audience as possible.
Ashitey Ollennu Chair Highgate Choral Society 10[th] March 2024
, CHARNY (oMMS1O FOR ENGLAND AND WAiES Highgate Choral SOcty Charity NO Annual accounts for the nod 1 st Sepiember 2022 31st August 2023 1191240 Section A Statement of financial activities D•51gnat•d Comml••ionlng Fund Total Fund• L• Y•ar G•n•ral Fund• T4)ts1 Fund• Conc4n Tk•1 Sal mmè Sabas ramme Ajlvertssi MemtW8hi Subo( Frtends Donatn sor3hl Gift Atd Tax Roco Bar Sa Retre5hrneniS N81 IrKon Nlusic Hirg Incorne Extemal Concert Prc¥notOf8 IncLfft• 8en81ow weeker Income Income Commlssjoni Sundry Incof 24.731 1.654 2030 41.074 2.160 IDO 24 731 1.654 S35 2.160 3100 8,840 3.767 305 3.265 2.920 2.920 4.570 43.244 43,244 FWKI Incry 52C, 141205 520 275 103.1fi2 141.205 fturn conc Coy mm• Co# Rehearsal Costs 8ar Costl MUS Htre C08ts Bank & Card Cha PRS Ro altio• InsuraDces Makin MUSK AMU subs I Extern41 Concen PrNnotefS Costs 68nslow We6keThd Cos15 Tour Costs CommissM)ni Do rocIat)n Sund Cosls Tol•l Exp•ndftur• 58.113 40n 64.189 4.072 972 972 less InlW8SI 123 123 249 323 365 323 307 365 Fund CcAts 54 2 183 li7824 514 2183 13-, 824 475 1 01Q 111 523 3.38., 3.381 8361 Pl•1 In fvnd• 3.381 3381 8.361 Funds urrf•d lornrd 48 702 13 881 2583 59 302
Section B Balance sheet Fw¥ L•# Y•w 2007 170 56 420 ti3Y9 i64ro ?)1 9,351 9JS1 e.914 47 ITB 1388. 6T.LNh) 57 10$ 48 7 92 1.2 583 13.8E' 13 381 48.702 13.48. L?.583 59.20i CC17• IEX
CHARITY COMMISSION FOR ENGLAND AND WALES Independent examiner's report on the accounts Section A Independent Examiner's Report Report to the trustsos Thè Highgatè Chordl Society On accounts for the year ended 31st August 2023 Charity no (if any) 1191240 Set out on pages I report to the trustees on my examination of the accounts of the above chartty {Ihe Trust") for tr year ended 3110812023. Responsibilities and basis of report As the charitys trustees. you are responsib for the preparation of the accounts in accordance with the requirements of the Charities Act 2011 ('the Ad"). I report in resFed of my examination of the TTUSt's accounts carried OLrt under section 145 of the 2011 Act and in carying out my examination, I have followed all the apklicable Directions 9iven by the Charity Commission under section 145{5}{b) of the Act. Independent I have completed my examination. I confinn that no material matters have examinerfs statement come to my attention in conr)ection with the examination which gives me cause to believe that in, any material respect.. the accounting recorts re not kept in a¢cordance with section 130 of the Chanties Act., or the accounts did not accord wth the accourrting records., or the auntS did not comply with the applicable requirements conceming the fom) and content of accounts set out in the Charities (Accounts and Reports) Regulations 2008 other than any requirement that the accounts give a Irue and fairf view which is not a matter considered as part of an independent examination. I have no concems and have come across no other matters in connection wttb the examinatio to which attention should te drawn in this report in ordèr to enable a pr per understanding of the accounts to be reached.. Signed: I IC L£11 23 December 2023 Nam•: Richard Morris Relevant professional qualification(s} or body (if any): Assooate member of the Institute of Chartered A(untants in ErvJland arKI Wales AddrvJs: 8 Holt Close London N10 3HW IER Oct 2018